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Gentle, charming dramedy about pals in middle-of-nowhere India making amateur movies. The giddy glee in this winsome portrait of geeky passion and enduring friendship is all-around infectious.
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.
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.
The visceral meatiness of this demonic-possession–infectious-zombie combo hits like a blow. The social and political context for the grotesquerie is even more appalling, and so very pertinent.
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 deeply humane, delicately constructed journey through trauma and recovery that cuts like a knife and soothes like a hug, somehow, miraculously, managing both bundles of feeling at the same time.
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.
This relentless, heart-in-your-throat, ticking-clock thriller about precarious single-motherhood could not be more timely or more intimate. As real, and as recognizably stressful, as the genre gets.
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.
This Danish black comedy is a meandering exploration of masculinity in the 21st century, and though it’s more miss than hit, it’s charming and bittersweetly heartfelt in its bumbling and bungling.
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