TV “The Outsider” Recap: “Que Viene El Coco” Holly picks up one thread after another, & begins to get a full, chilling picture of what the team might be up against.
Festivals Sundance 2020: “The Mountains Are a Dream That Call to Me” Cedric Cheung-Lau's super slow burn overdoes itself at points, but it finds its beauty—and then finds it again.
Festivals Sundance 2020: “Whirlybird” Probes LA From Above Matt Yoka's documentary snaps a picture of a city -- and a family -- in transition.
Festivals Sundance 2020: “Possessor” Is a Grab Bag of Sci-Fi Clichés Brandon Cronenberg's second feature is a po-faced collection of genre tropes that wastes its cast and a modest sense of style.
Festivals Sundance 2020: “Spree” Goes for the Kill But Lacks the Edge Eugene Kotlyarenko's satire about a rideshare driver who murders for online fame lacks the bite or nuance its premise deserves.
Festivals Sundance 2020: “Never Rarely Sometimes Always” Beautifully Explores the Female Gaze Eliza Hittman's tender tale of a teenage girl seeking an abortion is about far more than its description would suggest.
Festivals Sundance 2020: “Jumbo” Kisses a Tilt-A-Whirl and Likes It Portrait of a Lady on Fire's Noémie Merlant gets sweet on a theme park ride in this charming, if conventionally quirky dramedy.
TV Star Trek: Picard and a “Remembrance” for its Best Performer Despite solid performances all around, the episode struggles with tone, plotting & what kind of show it wants to be.
Festivals Sundance 2020: “Zola” Is Raunchy, Riotous, and Challenging Janicza Bravo's retelling of the 2015 viral Twitter thread boasts great performances and surprisingly solid filmmaking, even if it ends on a shrug.
Festivals Sundance 2020: “Ema” Is a Hallucinatory, Familial Fever Dream Pablo Larraín's neon-caked tale of a tattered family is ambitious if uneven eye candy that's bound to get audiences talking.
Festivals Sundance 2020: “Luxor” Gets Lost In Translation A solid first half and great work from Andrea Riseborough aren't quite enough to make up for Zeina Durra's Egyptian indie.
Festivals Sundance 2020: “The Painter and the Thief” Finds Activity in Passivity Benjamin Ree documents the budding, murky friendship between a painter and the man who stole her painting.
TV Make Room for “Shrill” Season 2, or Get Out of the Way Annie makes amends & demands a place in the world in a quietly powerful sophomore season of the Hulu comedy-drama.
Festivals Sundance 2020: “Summertime” Is Hot Mess Worth Cherishing Sandwiched between a rough start and too tidy of an ending, Carlos López Estrada's latest finds love in its large ensemble.
TV “Star Trek: Picard” Goes Fine, But Not Boldly Patrick Stewart returns to his iconic role in a new Star Trek series in desperate need of a shakedown cruise.
The Disappearance of My Mother Review: Sight Unseen Son Onscreen Beniamino Barrese's new doc is an intriguing dichotomy that lacks enough self-awareness and comprehension of its themes.
Color Out of Space: Home on Deranged Richard Stanley makes his feature directing return with a can’t-miss combination of Nicolas Cage and H.P. Lovecraft.
Features From Wilted to Wistful in “Broken Flowers” Part deadpan comedy, part drama, and part neo-noir, Jim Jarmusch's 2005 indie remains one of his most textured—and one of his most approachable.
Troop Zero Review: Lite-le Miss Sunshine Amazon Prime's girl scout comedy wastes its cast and period setting to make for an involving, generically cute indie.
Columns Criterion Corner: “Antonio Gaudi” “Three Fantastic Journeys by Karel Zeman” A re-release of an architecture doc and a thrilling box set of Karel Zeman's imaginative special effects work number among Criterion's offerings this month.
Filmmaker of the Month Time Waits for No Misfit: On “Down By Law” Time, ease, and the thrill of Americana rain down on Jim Jarmusch's most intriguing early work, about a group of three escaped convicts.