CODA is filled with compelling scenes about a hearing daughter born to Deaf parents, but it gets bogged down in sentimentality.
Judas and the Black Messiah Review
A Glitch in the Matrix Review
For the first time in esteemed Japanese auteur Sion Sono’s career, he has made his English-language debut with Prisoners of the Ghostland. He brings his unique...
"Eight for Silver" finds an intriguing way to advance the werewolf legend that's surprisingly scary, but it's lacking in substance.
Ben Wheatley returns to his horror roots with incredible results in his latest film, In The Earth – a folk horror film devised and created during...
Cryptozoo, Dash Shaw's sophomore feature, is a Jurassic Park–like story of imaginary creatures done in hypnotizing animated style.
Christopher Makoto Yogi’s previous film, August at Akiko’s, feels like the perfect companion piece and set up to his newest Hawaiian-set drama, I Was a Simple...
Censor is a tribute to the colors and textures of 1980s-era video nasties, but it loses its bite toward the end.
How did the Chinese government turn pandemic cover ups in Wuhan into a triumph for the Communist party?
Flee recounts a single refugee's experience with wonderful animation and a heartbreaking, but hopeful story.
Miranda July's film turns an oddball film about homeless scammers into a deeper meditation on longing and abandonment.
The debut feature from Natalie Erika James is an elegant and chilling horror film about dementia and losing a loved one.
The Night House evolves from a simple haunted house story to a chilling examination of grief, with plenty of spooky noises along the way.
Eliz Hittman's 'Never Rarely Sometimes Always' explores the humiliations and obstacles that block women's paths to abortion throughout the US.
Joko Anwar's 'Impetigore' is a chilling film enlivened by a great sense of dialog, even if it sometimes slips into parody.
Alan Ball's 'Uncle Frank' wants to be a heartwarming coming-of-age tale, but the turn from comedy to melodrama will give you whiplash.
We all like to think we’d do the right thing in a moment of danger and look after others before thinking of our own wellbeing. Or...
St. Vincent and Carrie Brownstein's film isn't committed enough to craziness to make a good midnight movie or funny enough to be worth your time.
Pedro Costa's fascinating metafictional work tells one woman's story of loss and abandonment, but her face is the true star.