A Hidden Life Review: Forging Our Own Idea of God
Terrence Malick’s three-hour opus examines the links between the theological, the empirical, and the absurdist in his best film in almost a decade.
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Eternals has a bigger canvas, but can’t quite escape the Marvel formula
Chloé Zhao’s admirable effort to tell an intriguing morality play about the burden of godhood is hampered by all the CG business required of its cinematic universe.
Tribeca 2021: “Mark, Mary & Some Other People” & “God’s Waiting Room”
Two indie romances act as unlikely companion pieces, in both good ways and bad, in this year’s Tribeca festival.
“In the Mood for Love” is a masterclass in cinematic yearning
Wong Kar-wai’s arguable masterpiece is a sumptuous, meditative ode to unconsummated passion.
NYFF: “Tragic Jungle” gets lost in its own mysticism
Yulene Olaizola presents a nightmarish thriller based on Central American folklore, but its opaqueness makes it hard to truly grasp.
“Tesla”‘s flights of fancy match the subject of its illumination
In his latest anti-biopic, Michael Almereyda drenches the life of the famed inventor in layers of enticing artifice.
“The Sea of Trees” saw talented artists set adrift
Matthew McConaughey wasted a performance in Gus Van Sant’s most disappointing film, a self-important look at white male redemption.
Since His Debut, Jim Jarmusch Has Been on “Permanent Vacation”
We look back at Jim Jarmusch’s film debut and the way its sense of experimentation ripples through the rest of his career.
Criterion Corner: “Polyester” “The Circus”
Two masters of the absurd get new Criterion releases – one (The Circus) Chaplin’s last great silent, the other (Polyester) uproarious John Waters vulgarity.
Ermanno Olmi: Standing in the Footprints of God
Over his decades-long career, the Italian neorealist crafted films filled with truth, empathy, and kindness.