2018
Aniara is a gorgeous sci-fi tale, that excels in worldbuilding and making the most of its budget. Brent Goldman reviews.
Like any great anti-hero story, the lead of The Realm knows he’s a bad man, and Sorogoyen makes him go through hell to atone for his sins.
The Chaperone is a film that’ll be gone by the month’s end, swallowed by the studio system and erased by this year’s loaded summer season.
Diamantino is too insufferably quirky to offer any meaningful statement on the socio-political issues it references.
About a Donkey embraces its identity, and allows its viewers to grasp this, but also infuses their own personal experiences within these character’s journeys.
The tension between musical and war drama at times overwhelms the picture – but god, even when it’s a failure, Swing Kids is entertaining as hell.
Whether a gift from God or the vitality of technological advancements, Amazing Grace is a gift of cinematic resurrection brings back Aretha in all her glory.
We delve into Pawlikowski’s unique grasp of time as it relates to the central romance in his film Cold War.
Matteo Garrone is arguably one of the most talented filmmakers working today. He is certainly,…
Lee Chang-dong’s masterful Burning is a pot of luscious ambiguity that has us pining for answers.
While it feels a bit unfinished and undercooked, If The Dancer Dances is a great start in unpacking everything that Merce Cunningham represented.
Donbass is the darkest of comedies, showing how wartime mania can fundamentally transform a nation overnight.
Aside from a few misleading statements, the Suicide: The Ripple Effect is someone’s personal, real story and the journey of reclaiming his life.
Netflix documentary The Bleeding Edge explores the issues surrounding the medical advances in providing healthcare.
Lost Child has an unquestionably compelling foundation, but it becomes too drenched in its own sentimental messaging.