By Michael Koresky | February 2, 2017

With the tone and care of the genuinely righteous, his voice was that of a herald, with writing that sliced through hypocrisy and the specific, tragic banality of American life with a swift condemnation that managed to touch the sublime.

By Justin Stewart | February 2, 2017

There is high public interest in stand-up comedy, evidenced by the popularity of Louie, The Aristocrats . . . the ability of comics like Hannibal Buress and Amy Schumer to make headlines and the preponderance of specials on streaming services like Netflix. But the subject has been a hard nut for narrative features to crack.

By Adam Nayman | February 1, 2017

The opening scene of The Lure cleverly reverses the age-old relationship between sirens and their prey. It hints that it is the fishtailed siblings who are being musically mesmerized, rather than the other way around.

By Michael Koresky | January 19, 2017

Staying Vertical is an aggressively conceptual cycle-of-life saga that brings the director back to his earlier model, in which characters ramble through a freeform narrative with no fidelity to logic.

By Jordan Cronk | January 12, 2017

The deft deployment of overt symbolism, coupled with an empathetic attention to the emotional travails of the characters, allows the film to operate equally well as a theologic parable, an existential comedy, and an anachronistic family drama.

By Michael Koresky | December 28, 2016

If good art has to on some level be working against something then lately Jarmusch, with this film and Only Lovers Left Alive, seems to be valiantly fighting time and tide. In his ever gentle way, he has found a new urgency.

By Mayukh Sen | December 28, 2016

As Bening plays her, Dorothea is sarcastic and salty in one scene, deeply serious in the next. She is prone to speaking in hoary neologisms, dispensing wisdom when no one asked for it.

By Adam Nayman | December 24, 2016

The ability of director Maren Ade to wring, in precise order and proportion, moments of amazement, humiliation, fear, guilt, longing, acceptance, and, above all, catharsis, out of the material in the final stretch verges on authentic genius.

By Nick Pinkerton | December 23, 2016

The distance between what Affleck imagines his screen presence to be and what it in fact is constitutes a yawning gorge in Live by Night, and free-falling through this vast, cavernous space you can find a few fleeting moments of giddy pleasure before the final thud.

By Julien Allen | December 21, 2016

I, Daniel Blake is a film not about injustice (which we can all read about), but about hardship (which we do not) and how its victims cope with it. We are never allowed to forget the inhumane backdrop, via the mind-numbing repetition of ghastly, subliterate welfare terminology.

By Mayukh Sen | December 20, 2016

His output in the decade since Volver (2006), from Broken Embraces to The Skin I Live In to I’m So Excited, has lacked the charge and spontaneity of his finest work. Julieta has awoken him from this recent stupor.

By Adam Nayman | December 19, 2016

The padre and the psychopath are figures situated at either end of his career, but as they gaze at their reflections, they also mirror one another: one can find within these two very different films the parallel plights of men in the midst of desperate introspection.

By Nick Pinkerton | December 8, 2016

I suspect Chazelle will be a name to watch for some time to come, and his third feature suggests that he has some definite ideas about popular moviemaking. Would I maybe loathe it a little less if it were not so unimpeachably competent?

By Nick Pinkerton | December 2, 2016

It is a laborious ordeal of unceasing histrionic assault and gymnastic hysterics, in its way a feminine counterpart to the monotonous masculine trudge of The Revenant, though Jackie has the decency at least to be brief.