And one of the great delights of this film is the way it charts the shifting waves of allegiances that can occur in a family that loves and argues with equal ferocity
Although it goes beyond a mere stylistic device, the supernatural here often feels like a function of Thelma’s loneliness and inner turmoil
It starts off as the portrait of a troubled child, but expands to become a film about community
Action scenes start and stop and then start again, then go in different directions, and it was a few moments into The Big Climactic Face-Off before I realized we’d arrived at The Big Climactic Face-Off
Winner of the Grand Jury Prize at this year’s Cannes Film Festival, BPM (Beats Per Minute), French director Robin Campillo’s stylized, moving drama of AIDS activism and love, sometimes feels like several films at once. It follows the activities of ACT UP Paris in the early 1990s, and for much…
Despite the many troubling trends in our media culture, the movies’ response to the Iraq War has been (gasp) surprisingly admirable. Since the mid-2000s, a steady stream of films have artfully addressed war’s aftermath and the homefront — from Stop-Loss and In the Valley of Elah, to Grace is Gone…
Ruben Ostlund’s The Square, which won the Palme d’Or at Cannes this past May, probably says more about the times we’re living in than any other film you’re likely to see this year. And yet the beauty of the movie is that everybody will have their own ideas about what,…
Like most of the better Marvel efforts, Thor: Ragnarok feels like the work of a unique sensibility instead of a huddle of brand managers. While the studio’s films demonstrated plenty of comic flair right from the start of its shared-universe experiment, with 2008’s Iron Man, recent efforts have veered too…
Imagine a remake of Cape Fear shot like Stanley Kubrick’s The Shining, with Max Cady recast as a child, and you’ll have some idea of the strangeness of Yorgos Lanthimos’ The Killing of a Sacred Deer. It was one of the most divisive titles at this year’s Cannes festival, thanks…
The labyrinthine nature of memory, trauma and guilt is made concrete in Benedict Andrews’ Una, a film that intermittently sends its characters wandering around what looks like an actual maze. In the title role, Rooney Mara puts her perpetually haunted gaze to good use as a melancholy woman whiling her…
For all his reputation as a capital-A Auteur, Todd Haynes has always demonstrated impressive stylistic versatility. The Sirkian pastiche of Far from Heaven is a far cry from the lo-fi expressionism of Poison, and the music video wonderland of Velvet Goldmine has relatively little in common with the fractured minimalism…
Maggie Betts’ Novitiate bears all the signs of an exceptional talent. It follows the experiences of Cathleen (Margaret Qualley), a teenager who enters a convent in the early 1960s just as the Catholic Church was starting to undergo the reforms of Vatican II. The title refers to the girls’ yearlong…
In the opening shot of Only the Brave, a flaming bear — not just a bear that happens to be burning but one that looks as if it had been created entirely from fire — lunges at the camera in the middle of a blazing forest. The image returns a…
The Meyerowitz Stories (New and Selected) premieres on Netflix Oct. 13 Adam Sandler’s core as a performer has always been his self-loathing. In his best comedies, he weaponizes it with humiliating ruthlessness. (In his worst ones, it wafts pathetically off him like the day-after stink of a drunkard.) Now, he’s…
The story goes that the stretch of snowy landscape at the end of the original cut of Ridley Scott’s Blade Runner was actually B-roll from Stanley Kubrick’s The Shining, slapped on by Scott at the last minute to help deliver the more upbeat ending his studio requested. Those final moments…
Mike White’s father-and-son college-trip comedy-drama Brad’s Status is legitimately more frightening than anything in It. Quite aside from the fact that real life is always scarier than monsters from the beyond, the writer-director’s deep understanding of envy, entitlement and embarrassment has never been more nightmarishly effective. But don’t expect one…
Just a little more than three months ago, Tom Cruise starred in a lifeless wannabe-blockbuster called The Mummy that made little use of his innate charisma (shut up, he still has some) or his star persona, turning him into an anonymous action hero. Now comes American Made, a picture that…
The sequel to 2015’s hit Kingsman: The Secret Service won’t make you feel the urgent need to take a shower and/or throw up, like the original probably did. Believe it or not, that’s not always a good thing. Kingsman: The Golden Circle, Matthew Vaughn’s follow-up to his brutal, joyfully degenerate…
First They Killed My Father premieres on Netflix on Sept. 15 It would have been easy for Angelina Jolie’s adaptation of Cambodian genocide survivor Loung Ung’s 2000 memoir to go ruthlessly and repeatedly for the emotional jugular. First They Killed My Father is, after all, the story of a young…
It floats in the darkness, unspooling onscreen with a sepulchral glow. It has waited for what seems like an eternity to meet the eyes of its audience, and it senses in them both anticipation and dread. Yes, there was that bizarre miniseries back in 1990 (God, remember Tim Curry in…
Say what you will about James Cameron, but the man commits. Stories of the director’s perfectionism, his control-freak mania and his sheer drive are legion, but I’m talking about something more fundamental to the work itself. Whereas most action filmmakers are content to let emotion and morality take a backseat…
Aubrey Plaza is a national treasure, but the movies still haven’t figured out what to do with her. Ingrid Goes West comes close, though, with its twisted, of-the-moment tale of an Instagram stalker who infiltrates the personal life of a social media celebrity. But for all its many virtues, it…
