Ed Gonzalez

Olivier Assayas’s knack for fostering insight through irony is nowhere to be found in the film.

As its second half begins to focus more on Lucy’s dating dilemma, and how she’s forced to confront her firmly established beliefs and rules about dating, the film hews increasingly close to the narrative expectations of the traditional rom-com.

Had we been allowed to truly sit with the characters’ prejudices, then The Damned might have earned the desperation with which it strains for contemporary resonance.

Amy Nicholson’s empathy for her subjects is undeniable.

Shove everything into the meat grinder of cynicism and, in the end, your insights come to feel purely incidental.

The film doesn’t lock on a target long enough for it to work up a head of steam as satire about the art world and how it thrives on nepotism, let alone one about the frustrations of the immigration process.

Roman Liubyi’s documentary is nothing if not self-consciously obsessed with its own making.

When Dominion isn’t suffocating itself with world-building, much of it frustratingly untapped, it’s wholly given over to corny fan service.

R.M.N. is more suspense thriller than procedural, and it’s content to have the audience walk on the razor’s edge of doubt and fear through much of its two-hour running time. Perhaps too content.

A New Era’s acknowledgement that some things must die for new things to be born works to justify the film’s title by quietly linking its themes of entitlement and survival.