By Leah Churner | August 9, 2013

Like his celebrated 2000 debut, George Washington, Avalanche is slow and sparse, padded with meandering negative space.

By Nick Pinkerton | August 7, 2013

Certainly The Canyons didn’t have a private life at any stage of its production, nor have two of its stars had one, in any traditional sense of the word, at any point in their adult lives.

By Michael Koresky | July 23, 2013

When Allen has dared to venture into darker psychological portraiture (a.k.a, when he’s “gone serious” in films like Interiors and September), he’s risked displeasing viewers who’d rather cozy to the relatably anxious than the genuinely depressed or dysfunctional.

By Ohad Landesman | July 18, 2013

The Act of Killing does not concern itself with replicating reality in the typical documentary manner: recording or preserving historical evidence. After all, since the perpetrators have never really denied their heinous acts, the film is not burdened with a need to prove anything.

By Matt Connolly | July 17, 2013

After charting the romantic fumbling and interpersonal short-circuiting amongst the post-college set with exceeding subtlety, there’s something undeniably exciting about watching the filmmaker slip out of low-budget naturalism and embrace a wonky side little seen in his previous work.

By Adam Nayman | July 16, 2013

If Only God Forgives has anything going for it, it’s that it’s clearly the movie that its creator wanted to make. Of course, that’s also mostly what’s wrong with it.

By Kristi Mitsuda | July 11, 2013

While the limits of Michael Cera’s obliviously adorable moppet act are on full display in Arrested Development, Sebastián Silva’s Sundance-winning Crystal Fairy provides the actor an opportunity to show off the unexpected and fun flip side of the coin: an obliviously assholish millennial.

By Ashley Clark | July 9, 2013

When one school employee remarks, “I don’t think anyone here is in doubt as to what Lucas has done,” despite a complete lack of evidence, the viewer similarly must be in no doubt as to what Vinterberg has done: he has rigged the game . . .

By Michael Koresky | June 28, 2013

Rarely has something so lofty felt so leaden as Pedro Almodóvar’s latest, a comedy that mostly takes place aboard an intercontinental flight, stuck circling over the ground because of a landing-gear malfunction.

By Matt Connolly | June 28, 2013

The free-wheeling nature of Dolan’s aesthetic can result in some dubious decisions, but I’ll take the risks of his throw-it-against-the-wall-and-see-if-it-sticks instincts over the dubious “restraint” seen in too many contemporary films chronicling LGBT experience.

By Max Nelson | June 27, 2013

Jem Cohen’s Museum Hours is a strange and rare kind of movie: a narrative feature about how we look at things.

By Bruce Bennett | June 17, 2013

The degree to which the film stands on the shoulders of other more recent science fiction and superhero flicks borders on consumer fraud.

By Michael Koresky | June 14, 2013

Sergei Loznitsa’s In the Fog is stimulating viewing for those among us still on the lookout for auteurs of serious moral and aesthetic intent.

By Tina Hassannia | June 12, 2013

The most significant quality of Joss Whedon’s modern adaptation of Shakespeare’s Much Ado About Nothing is not its black-and-white palette, small self-financed budget, or the fact that the crew shot it in just under a fortnight at his house, but that this is the first film Whedon has directed that he hasn’t also written.