Dominic Cooke’s well-crafted spy thriller doesn’t try anything new, but boasts winning performances & a zippy plot.
Category Archive: Festivals
Coverage of domestic and international film festivals, previewing the latest upcoming features and independent favorites.
Florian Zeller directs a stunning feature debut starring Anthony Hopkins & Olivia Colman at the top of their game.
Maïmouna Doucouré has a lot on her mind, but digs uncomfortably into oversexualization.
Jeff Orlowski’s documentary about the effects and ethics of social media lacks enough emotional depth or practical solutions to work.
Anabel Rodríguez Ríos’s documentary about tension in the small village of Congo Mirador is both singular and specific.
Edson Oda’s debut feature about a group of souls looking to be born into the real world is a great premise with pretty good execution.
Lance Oppenheim’s documentary about the largest retirement village in America blends droll humor with small, salient touches.
Emerald Fennell’s feature debut may be flawed, but it’s an empathetic portrayal of rage, anguish, and black comedy.
Cedric Cheung-Lau’s super slow burn overdoes itself at points, but it finds its beauty—and then finds it again.
Matt Yoka’s documentary snaps a picture of a city — and a family — in transition.
Brandon Cronenberg’s second feature is a po-faced collection of genre tropes that wastes its cast and a modest sense of style.
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.
Portrait of a Lady on Fire’s Noémie Merlant gets sweet on a theme park ride in this charming, if conventionally quirky dramedy.
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.