Adam Solomons

Nemes’ understanding of the filming methods of the era in which his movie is based sets “Orphan” out from other, more conventional historical dramas. As with “Son of Saul” and “Sunset,” this is a sophisticated endeavor and, in craft terms, a level above the norm.

Late Shift is carried on Benesch’s shoulders, and she impresses. It’s just a shame she isn’t given more of a movie to act in.

Scarlet amounts to a frustrating waste of animating and directorial skill for the price of an excessively ordinary story.

The Sun Rises On Us All soon becomes the disheartening but affecting story of a pair of broken people for whom salvation is simply unaffordable in a morally expensive world.

Pavements is an important documentary. It’s a reminder that the fourth (and fifth and sixth) wall can be smashed, that the rock doc can be reinvented. And that when the message is meta for meta’s sake, why not make the medium that way, too?

It’s unable to channel the essence of what made Powell and Pressburger’s films unforgettable. Sadly, it’s not really trying.

In posing substantive questions about the nature of romance and relationships, it’s smarter than virtually any American studio romantic comedy of recent years

When the Light Breaks is the rare film that might benefit from being a good deal longer. It’s certainly well made and has enough to say to have been assured of this critic’s goodwill for quite some time longer, and might have been able to explore the messy implications of its premise in an even more interesting way.

For those who know little about the subject matter, Dahomey is a bold and memorable history lesson. But with Diop’s expressive talents as they are, it’s fair to hope that she returns to the world of fiction next time.

Suspended Time never really brings its two big ideas together: the everyday challenges of the pandemic, alongside existential worries about what’s behind us and what happens after we die, feel too separate to build into something bigger.