By Sarah Silver | October 3, 2011

The title of 50/50, a comedy about a young man diagnosed with a rare form of cancer, refers to main character Adam’s chances of living.

By Genevieve Yue | October 2, 2011

The frozen time of this “unrealistic film,” as Kaurismäki calls it, is punctuated by more than a few glimpses of the contemporary world.

By Michael Koresky | September 30, 2011

The fact that such a heavily allegorical, narratively tricky film would incite anger is a testament to the inherent power of Loznitsa’s imagery; the cumulative impact of My Joy’s many jarring episodes announces him as a potentially major filmmaker.

By Benjamin Mercer | September 30, 2011

In Take Shelter, Jeff Nichols’s follow-up to his excellent 2007 drama Shotgun Stories, all the protagonist’s anxieties condense in the form of a storm cloud.

By Adam Nayman, Eric Hynes | September 26, 2011

As far as big studio dramas are concerned, Moneyball functions well—it’s far too long but goes down easy, is well acted and stylishly shot. But it’s also a missed opportunity.

By Michael Koresky | September 22, 2011

If Weekend felt at all like a treatise on the State of Being Gay Now the easygoing charm that makes it so special would have been obscured.

By Michael Koresky | September 14, 2011

There’s a voiceover buzzing through Alexei Fedorchenko’s brief, impressionistic, and sentimental Silent Souls, and it’s eager to tell you how to absorb what you’re watching.

By Justin Stewart, Matt Connolly | September 12, 2011

That patina of you-are-there atmospherics does little to sell the film’s stabs at state-of-the-union relevance.

By Michael Koresky | September 8, 2011

The Autobiography of Nicolae Ceauşescu—a thrilling three-hour whirlwind through tumultuous late twentieth-century Romanian history that focuses exclusively on the deposed president and tyrant—reminds us that the public face is often all we are privileged to see.

By Sarah Silver | August 29, 2011

Our Idiot Brother presents us with a world in which life is out of balance; to put it in New Age-y terms that Ned might use, many of the female characters embrace too much yang, or masculine energy, and Ned has too much yin, or female energy.

By Sarah Silver | August 29, 2011

Sarah Kazemy and Nikohl Boosheri shine brightly as Shireen and Atie, the bold teenage heroines of the film. There’s a cinematic symbiosis at play between the two actresses and Keshavarz, herself a first-time director.

By Michael Koresky, Adam Nayman | August 22, 2011

Colin Farrell, first appearing on his front lawn in a seductive glower and matching black tank-top, is a vamp of the highest order—the role gives the Irishman a chance to strut his sundry stuff; his sexy swagger and comic chops are both on full view.

By Michael Koresky | August 17, 2011

It’s clear that Ruiz wishes to envelop the viewer in lush, traditional storytelling; this being wily Ruiz, though, Mysteries of Lisbon foregrounds that storytelling to a nearly absurd degree.

By Michael Nordine | August 11, 2011

Writer-director-editor-star Evan Glodell’s debut film Bellflower starts in media res. We’re treated, within its first thirty seconds, to a fragmented blend of flipped cars, backwards footage, and slow motion.