Anna McKibbin

Lapid’s garish maximalism will surely isolate some filmgoers, but the satire of Yes! works best when it’s fearless—unbothered by the genocidal regime it captures.

Even in the more shallow form of Young Mothers, the Dardennes’ work emphasizes that there is little that’s more cinematic than complicated people surviving difficult circumstances.

Though it aspires to be a thought-provoking take on the coming-of-age story, Grady and Ewing’s doc never overcomes its uninspiring filmmaking to meet the profundity of the experience it represents.

It seems that Johnstone and his collaborators learned the wrong lesson from M3GAN‘s shocking success.

The Electric State isn’t playful and colorful, it isn’t soberly thoughtful, it isn’t bleak yet emotional. It’s just a slog.

This is a self-assured take on a story that stretches far, wide, and deep.

IF feels markedly strung together, the consequence of its few creative ideas with no coherent visual language to bind them.

Reijn has crafted a feature-length homage to the early rush of attraction–one that the director knows can strike unprovoked, regardless of relationship status. Within the film’s 114-minute runtime, that ephemeral spark between Romy and Samuel is bottled, smashed, and left seeping across the screen, leaving an intriguing pattern in its wake.

Beetlejuice Beetlejuice is strangely paced and barely comprehensible, plot-wise, but it is aesthetically esoteric in a way that used to be synonymous with Tim Burton’s filmmaking, alive and real.

With In A Violent Nature, Nash crafts something entirely new; composed, near and real. But the film’s sense of tone and timing prove that he also intimately understands why audiences were always invested in these marathons of blood, gore, and guts.