Day of the ‘Nightbitch’
Amy Adams stars in of this year’s strangest and smartest films, as a new mom who turns into a dog
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Author: London Faust
‘Here’: An Experimental Film Saddled With The Corniest Script Imaginable
Robert Zemeckis goes far too back to the future
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‘Anora’ is a Truly Special Film
Director Sean Baker deserves all the accolades
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The New ‘Crow’ Is Almost Superior to the Original
We offer a counter-take to the critical scorn reaped on the late-summer box-office bomb
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The ‘Borderlands’ Disaster
Eli Roth’s big-studio “tentpole” is a reminder of what truly terrible films look like
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The Summer of ‘Last Summer’
The underrated Catherine Breillat pulls off the directorial feat of this year
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Mother Act
An indie coming-of-age movie where no one actually comes of age
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Who Watches ‘The Watchers’?
As few people as possible, we don’t want to give hope to the next generation of Shyamalans
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Evil May Or May Not Actually Exist
Can anyone figure out what director Ryusuke Hamaguchi is up to in ‘Evil Does Not Exist’, his enigmatic followup to the Oscar-nominated ‘Drive My Car’?
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‘The Phantom Menace’ Reconsidered
For all its idiocy, the first of the reissued Star Wars prequel trilogy almost looks like classical silent cinema these days
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He Likes To Watch
‘I Saw The TV Glow’, funny, empathetic, surreal, and genuinely depressing
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The Past is Prologue
In Bertrand Bonello’s brilliant ‘The Beast,’ AI forces people to visit past-life trauma as a condition of employment
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A Grave Situation
What is Alice Rohrwacher doing with the self-consciously stylish ‘La Chimera’?
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Mood ‘Windigo’
Tired of “elevated horror”? We may have found your picture
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Stuff and Nunsense
Sydney Sweeney’s Elevated-nunsploitation vehicle ‘Immaculate’ is more or less what you’d expect, and refuses to take its religious concepts seriously
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