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A stark, haunting adventure, viscerally terrifying, full of despair, informed by the moral and philosophical quandaries of what it takes to sustain oneself in body and spirit in impossible conditions.
Oh, frabjous film! Bradley Cooper’s astonishing high-wire act feels classic and modern at the same time: immersive and impressionistic, breathtakingly bold. A kick in the pants to mainstream cinema.
The king of all monsters gets a period-piece reboot, and it’s the closest the series has gotten since to the sincere, unironic horrors of the 1954 original. No comfy escape from terrible reality here.
A great American filmmaker on a memory-holed chapter of American history at the intersection of colonialism and toxic masculinity. Massive, epic, and essential. Scorches the earth of our complacency.
A pall of dread, of terrible suspense, hangs over this powerfully empathetic drama about what it means to be a Black man navigating a racist world. Beautifully performed and structurally intriguing.
With human paradoxes at its nucleus, this is a riveting portrait, both intimate and epic, of the self-involved men who think they make the world go round… and too often, tragically, do.
Traditional folk music and beautifully animated mythic motifs may be rightfully validating for homegrown Ukrainian audiences, but there’s little else beyond that novelty to capture others’ imagination.
More of the same old religious-horror hoohah, plus Russell Crowe hamming it up, complete with terrible Italian accent. Its only twist on the usual exorcist-movie nonsense is genuinely pretty appalling.
A powerful, necessary film, deeply humane and sympathetic, ugly-beautiful in its panic, full of dread and bad behavior. We feel every iota of Jean’s anxiety at closeted life in the homophobic 1980s.
Comfortably unchallenging French romantic drama, though it does Freudian-slip into implying that the engineer was only inspired to erect his soaring tower when an old flame reawakened his, er, heart.
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