Eugene Kotlyarenko’s satire about a rideshare driver who murders for online fame lacks the bite or nuance its premise deserves.
Eliza Hittman’s tender tale of a teenage girl seeking an abortion is about far more than its description would suggest.
Janicza Bravo’s retelling of the 2015 viral Twitter thread boasts great performances and surprisingly solid filmmaking, even if it ends on a shrug.
Pablo Larraín’s neon-caked tale of a tattered family is ambitious if uneven eye candy that’s bound to get audiences talking.
A solid first half and great work from Andrea Riseborough aren’t quite enough to make up for Zeina Durra’s Egyptian indie.
Benjamin Ree documents the budding, murky friendship between a painter and the man who stole her painting.
Sandwiched between a rough start and too tidy of an ending, Carlos López Estrada’s latest finds love in its large ensemble.
Beniamino Barrese’s new doc is an intriguing dichotomy that lacks enough self-awareness and comprehension of its themes.
The third entry in the irreverent buddy-cop series looks at old versus new without coming to any real conclusion or purpose.
New films by Julie Taymor, Dee Rees, and Justin Simien mix with fascinating new docs and debut features in our list of Sundance 2020 must-sees.
Ladj Ly’s feature debut mines neorealism to solid effect, but its contrivances prevent it from making a fully-realized social comment.
Destin Daniel Cretton’s legal drama has its moments of impact and an impressive cast, but it’s far too lopsided to stick the landing.
Karim Aïnouz’s latest is an ambitious adaptation of two women separated by the patriarchy and the loneliness of family.
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.
From Ad Astra to Us, we celebrate the cream of the cinematic crop in 2019.
The Safdie brothers continue their streak of blending pastiche with mind-cracking abandon while Adam Sandler gives it his all.
Jay Roach’s retelling of the Fox News harassment scandal has sufficient momentum and typically strong performances to largely overcome its undercooked politics.
Peter Strickland’s frigid, Freudian fever dream looks at fetishism and consumerism with a killer sense of style.