Mira Nair turns a dreary novel into something bright and beautiful, and changed how we looked at it.
The latest Shudder original is a clever homage to movies of the past, but quickly loses its focus.
Philip Seymour Hoffman plays the ultimate lackey in The Coen Brothers’ gleefully silly stoner comedy.
David Prior’s overlong occult horror is stylish but suffers from sluggish pacing and a lackluster hero.
Small Axe music supervisor Ed Bailie talks to us about filling Steve McQueen’s five-part anthology with the grooviest, most authentic tunes.
Bennett Lasseter’s teen romance plays like Sound of Metal for the YA set, but sags under a heaping helping of misconceptions about deafness.
Perhaps the best of the Bond rip-offs, this 60s classic offers style, self-aware humor, and an iconic performance by James Coburn.
Anne Hathaway and Chiwetel Ejiofor have chemistry to spare in Doug Liman’s unexpectedly charming quarantine-themed romance.
The Netflix Action Movie Industrial Complex continues abated with a deeply mediocre military thriller that can’t get a handle on its lukewarm critique of drones.
Mickey Reece’s out-there vampire B film plays in a lot of genres, but doesn’t quite hit the Anna Biller vibe it’s going for.
Mira Nair’s 1988 breakout remains a scintillating tale of poverty in India’s slums, even as it toes the line of exploitation.
Vincent Paronnaud’s over the top slasher film wants to say something about misogyny while treating its female lead as an object to be abused.
Phyllida Lloyd and writer-star Clare Dunne delicately handle tough subject matter in a responsible, deft character drama.
Empathetic, well-crafted filmmaking makes this profile on the specificities of autistic life both heartwarming and essential in its outreach.
Bryan Fogel follows up Icarus with a harrowing, if occasionally glitchy, profile of Saudi Arabia’s snuffing of dissent, whether through social media or just plain murder.
Glenda Jackson is mesmerizing as a woman struggling with dementia — and a missing persons case — in this BBC import.
David Fincher’s syrupy historical fantasy is as sumptuously filmed as it is shallowly written.
Kiyoshi Kurosawa’s state-sanctioned drama elevates itself beyond its cultural mandate to explore more universal notes to the human condition.