western
The Ballad of Buster Scruggs is some of the Coens’ best work: the storytelling is so delicate and precise, like a beautiful poem squeezed of every superfluous word.
Much like the characters of Prospect, Christopher Caldwell and Zeek Earl are pioneers, creating a film that feels like the origin of something new.
There is much to admire about The Sisters Brothers; the powerful performances, the beautiful cinematography, and the statement on violence in the Old West.
The American Western is a worthy way to gaze at the past in reference to our present; seen from the early days of the genre to more recent revisionist entries.
Let the Corpses Tan is an exhilarating and original work of wild genius that we’ve come to expect from directors Hélène Cattet and Bruno Forzani.
Five Fingers for Marseilles is sporadically entertaining while watching, but devoid of the food for thought a film with this subject matter urgently needs.
Despite its empowering story, and fine performances by Michael Greyeyes and Jessica Chastain, Woman Walks Ahead is an unfortunately forgettable endeavor.
With her delicate approach, inspired Western-influenced imagery, and hard-hitting subversive themes, The Rider is a clear indication of Chloe Zao’s talents as a director.
Kristy Strouse reviews her final batch of films from Tribeca Film Festival, including Zoe, In a Relationship, and Woman Walks Ahead.
David Fontana discusses four films directed by women that show transitional periods of life, from an adolescent teen to an immigrant mother attempting to make it in America.
Whether basking in the glory of its noir-style lighting, or admiring its Ennio Morricone-influenced score, or even if just a fan of the hodgepodge of films referenced in some way, there’s at least something in Pickings for people to enjoy.
Western is Valeska Grisebach’s homage to the classic genre, focusing on a group of German construction workers in Bulgaria while playing with themes of overt masculinity and identity.
Director Chloe Zhao follows up her debut film with an outstanding sophomore feature, The Rider, that in a just world would see her get an Oscar nomination for her impactful direction.
With poignancy, grit, and proficiency, Sweet Country gazes out at the vast Australian outback while also deeply examining the darkness of humanity within.
With Damsel, the Zellner brothers take a whimsy and a flippant attitude towards the grit of the modern Western. Their approach is admirable and considerably original, but ultimately a failure.
