By Michael Koresky | November 10, 2017

Three Billboards is the kind of momentary crowd-pleasing entertainment that will satiate audiences looking for the movie equivalent of a knee to the crotch—which not so incidentally is one of its defining images.

By Julien Allen | November 9, 2017

What has not changed, despite the shift into genre, is the commitment to helping us sympathize with damaged, alienating (and alienated) people. In his films we might feel the discomfort of self-recognition from these characters, while in all but the finest horror films, their predicament is usually reduced to a motive for a reign of bloody terror.

By Justin Stewart | November 2, 2017

An occasional tin ear for old-guy dialogue suggests Linklater might still be more comfortable with the casual-philosophical badinage of those a decade or more his junior, but the 12-year gestation gives the film the distance crucial to its angry, sad, but, in hindsight, wise perspective on the early Iraq War years.

By Caroline Madden | November 2, 2017

Gerwig evokes that specifically senior-year feeling of the rapid approach of adulthood through a swift editing style, offering a dynamic rhythm that conjures the sense of finite time she has with family and friends, a patchwork of energetic montages propelling Christine and the story forward.

By Eric Hynes | November 2, 2017

In a film like The Work, with its multiple layers of privileged access and precariously obtained permissions from an array of potentially volatile participants, you are not just being allowed to see. Your sight is essential. Seeing and being seen is the point.

By Elbert Ventura | October 24, 2017

There is a nervous breakdown at its center, not necessarily by its protagonist but by the norms and institutions that sustain him. A lacerating critique of liberal cosmopolitanism, The Square is at once an art-house provocation of supreme calculation and a guttural sob for an unhappy West.

By Chris Wisniewski | October 19, 2017

Here, queerness is not figured along the lines of sexual orientation or gender identity so much as the otherness that comes with being differently abled and, even more immediately, with a sense of loss.

By Jeff Reichert | October 19, 2017

Robin Campillo himself was a participant in ACT UP-Paris in his younger days, and the easy jockeying between strategy and action in the film would likely have been near impossible without his insider perspective.

By Chloe Lizotte | October 17, 2017

A Gentle Creature is more of a destabilizing shock to the system than a call to arms, a confrontation with a broken state rather than a blueprint to rebuild it. It confirms Loznitsa as a master craftsman of the impeccably designed and crafted hellscape, politically charged and all-consuming.

By Devika Girish | October 15, 2017

“It is a time when this country is under a lot of criticism, rightly so, and I have found my place in portraying certain things, but showing them to you in a way that you get to make your own judgment. And so far, I have been very moved that people want to see the good of this country.”

By Vadim Rizov | October 13, 2017

Meyerowitz splits the tonal difference between his kinder Greta Gerwig collaborations (Frances Ha, Mistress America) and the more acerbic works surrounding those, dealing with the previously unlikely possibility of forgiveness and healing.

By Nick Pinkerton | October 7, 2017

That Denis can produce a work that, without a trace of preciousness, is equal parts indebted to Barthes and Chicago blues, connected as arm is to shoulder to the film-historical legacy of post-New Wave French filmmaking, is only further justification for claim that the 71-year-old is the greatest working director over the last two decades.

By Michael Koresky | October 2, 2017

The disconnect between the liberated shooting and editing style and the social entrapment actually experienced by its characters gives The Florida Project its indeterminate feel and ungainly shape.

By Daniel Witkin | September 30, 2017

The first thing you should know is that Western is not really a western. Valeska Grisebach draws upon genre iconography and mythos, but to take the comparison further requires wishful, willful thinking, an act of projection that the filmmaker cannily encourages and exploits.