A deeply compassionate, deeply unnerving portrait of a man suffering from dementia and losing his grip on reality. The empathy machine of cinema has rarely been put to such uncomfortably intimate use.
A complete upending of the western, about not wide open spaces but close-in intimacy, with an unusual female gaze and a hugely provocative dare to gender expectations. Both ironic and transformative.
A fictional version of a story we know in the abstract, told with hushed reserve and brutal unsentimentality. An incisive, nontitillating female gaze on sexual abuse that never sensationalizes horror.
Washington and Pattinson have palpable charisma, but this cold puzzle offers no incentive to solve it. Throw in damsel-in-distress crap, and both my geek sensibilities and my feminism are offended.
Sarah Pirozek weaves an elegant, noirish tragedy on a micro budget, but it’s far more effective as a portrait of the miserable discomposure of modern teen life than as a feminist vigilante thriller.
Nonsensical Danish thriller concocts absurd connections between the nature of evil and *checks notes* office politics among shallow clichés of women. Preposterously, this is not meant to be satire.
A same-old tale of apocalypse knows we’ve seen this all before, and so centers human drama over disaster porn. It has nothing new to say, but at least it says it well, with notes of horrific grace.
An appalling melange of insipid disaster drama and implausible romance with a bit of dystopian satire thrown in. This is a crass cash-in meant to prey on our pandemic anxieties, not grapple with them.
Achieves that rare cinematic feat of being specific and universal at the same time. A lovely film, plaintive and poignant, with exquisite performances from a beguiling cast, and ultimately hopeful.
A triumph. McQueen brings history to life and makes it sing with zest and passion, with a spirit that endures beyond the strife. A celebration of Black joy alongside a raging against Black oppression.