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This Norwegian family drama, tinged with fantasy and horror, depicts a teen girl’s emotional turmoil through fantastical, yet oddly pragmatic, reveries. Newcomer Ylva Bjørkaas Thedin is heartbreaking.
GoodFellas, except they’re gals. A cinematic bonbon of delinquent deliciousness that easily wraps us up in charmed complicity. And the exquisite lack of a male gaze means it’s never salacious.
A study of the painter LS Lowry that, with sly whimsy and darkness, finds a universality of the creative psyche via the toxic relationship with his mother, who tried (unsuccessfully) to crush him.
A bigger misfire than its predecessor, and a waste of a great cast. Unsupportably overlong, with a feel-good self-care denouement that’s almost dangerous. The only terrifying thing here is the tedium.
Atmospheric mood — this is a dour nightmare in the stark gloom of 19th-century Wales — and a striking performance by Eleanor Worthington-Cox aren’t quite enough to sustain this near-horror film.
There’s plenty injustice here to enrage the thinking, feeling citizen, but despite a passionate performance by charismatic Aldis Hodge, this docudrama is nowhere near incensed enough on his behalf.
The legendary literary lesbian romance, starring the incendiary duo of Gemma Arterton and Elizabeth Debicki, is criminally blah, lacking all sexual and intellectual passion. How does this happen?
It’s hard to escape the sense that Ari Aster is getting off on Florence Pugh sobbing and screaming as he fetishizes her terror and torment. And none of it is in the pursuit of any meaning or message.
This German zombie flick offers horror with a spin of feminine steel, not soft but brutally maternal, as necessary as natural selection and as nurturing as civilizational, even planetary tough love.
A lazy treadmill of a sci-fi morality play that wastes a terrific cast. A numbingly dull game of mutant checkers that has no idea how to tell a woman’s story except filtered through the eyes of men.
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