By Elbert Ventura | May 25, 2012

Seven movies into Wes Anderson’s career, the arguments rage on but the opinions have settled: you know by now where you stand on the matter.

By Kiva Reardon | May 24, 2012

Though his film follows a conventional narrative, it would seem Peli cannot resist incorporating found footage, using it to introduce his characters and again, predictably, for a kill sequence.

By Julien Allen | May 24, 2012

Where la Rochelle held what amounted to an unforgivably romantic view of suicide, which the young idealistic Malle embraced, Trier (only a distant relation of Lars) has opted to strip away their stylistic floss to forge, in a soberly formal style, a raw and relevant portrait of Scandinavian suffering.

By Jeff Reichert | May 18, 2012

Shot on grainy, jittery, slate-gray 16mm, Alex Ross Perry’s The Color Wheel is a rare issuance from the lost generation of young American filmmakers in the fin du cinéma age that looks and feels “like a real movie.”

By Michael Koresky | May 10, 2012

Midway through Hirokazu Kore-eda’s I Wish, a grandfather grumpily wonders, “Do kids today feel anything about anything?” Judging by this enchanting and wise film, indeed they do.

By Adam Nayman, Eric Hynes | May 7, 2012

Superhero narratives historically depend upon the tension between the human and the superhuman—we can relate and we can’t, they’re one of us and they’re not—but this film quite literally takes place in the clouds.

By Benjamin Mercer | May 7, 2012

True to this association, the movie treats Sebald with great solemnity, as a sort of Stonehenge-like ruin in and of himself, posthumously trying to make him something like a novelty subsection of the great themes of his own antiquarian German poetry and prose—Civilization, History, Memory.

By Jeff Reichert, Farihah Zaman | May 1, 2012

The Pirates! Band of Misfits is a terrific concept (the dry Monty Python–esque wit and handmade charms of stop-motion animation masters Aardman applied to a swashbuckling high seas adventure) casting desperately about for a movie

By Michael Koresky | April 30, 2012

This is not a film fueled by garrulous and good-natured young people questioning themselves and the world around them, but rather populated by those who’ve been around the block long enough to stop asking.

By Benjamin Mercer | April 19, 2012

As time passes, via a steady rhythm of daily business (phone calls, appointments, parties, moping around), grief slowly begins to give way, as it never seemed it would, to a tentative levity.

By Ela Bittencourt | April 17, 2012

Post Mortem is only Larraín’s second feature, but he has already proven a distinct style—an unmistakable deadpan—and an interest in political and personal utopias.

By Marianna Martin, Chris Wisniewski | April 16, 2012

Much of Cabin’s delight stems from the many intricate reveals that comprise the narrative’s structure, but the film is far from gimmicky or contrived, relying on the audience’s fluency in the language of horror films to simultaneously revel in and interrogate the established pleasures of the genre.

By P.M. Cicchetti | April 9, 2012

We Have a Pope has nothing to do with the Pope, much as director Nanni Moretti’s 2006 film Il Caimano, widely regarded as a j’accuse against Italy's controversial Prime Minister, was not really about Berlusconi