Richard Brody

The film strains to achieve a breathless panache and a lurid swagger for which David Leitch’s direction is too heavy-footed and literal.

There’s neither pity nor sentimentality in Gomes’s populism; the highest strain of modern humanism faces up to the first person.

The film locates extraordinary political and cultural tributaries, marked by archival footage, that arise from the history of Dawson City and the gold rush.

The writer and director, Ana Lily Amirpour, delivers this imaginative tale as a simplistic allegory of the haves and the have-nots; she ruefully delights in the wasteland’s postindustrial wreckage while leaving characters’ thoughts and motives blank.

The absolute tastelessness of Bay’s images, their stultifying service to platitudes and to merchandise, doesn’t at all diminish their wildly imaginative power.

Filming cityscapes and intimate gestures with avid attention, adorning the dialogue with deep confessions and witty asides, Piñeiro conjures a cogently realistic yet gloriously imaginative vision of youthful ardor in love and art alike.

The hallucinatory power of ayahuasca and the incantatory lure of rituals fuse with existential dread in this darkly hypnotic drama.

The range of tones and moods, like the range of situations, characters, and actors, is so wide, so recklessly self-contradicting, that it turns a tautly crafted local story into a comprehensive vision.

The director, James Wan, sends cars repeatedly airborne and seems himself to marvel at the results; the movie’s real subject is the stunt work, but its stars’ authentic chemistry lends melody to its relentless beat.

Cedar plays Norman’s story for tragedy but never develops his inner identity, his history, or his ideals; the protagonist and his drama remain anecdotal and superficial.

A dully conventional film about a brilliantly unconventional musician.

With a teeming cast of vibrantly unglamorous Chicago characters who hold Eddie in a tight social web, Swanberg—aided greatly by Johnson’s vigorous performance—makes the gambler’s panic-stricken silence all the more agonizing, balancing the warm veneer of intimate normalcy with the inner chill of secrets and lies.

Despite some memorably painful moments and underlying artistic urgency, the film’s implications remain unprocessed and unquestioned.

The backbone of Collin’s film is the sole audio interview with Helen Morgan, made in 1996, shortly before her death. The story that she tells combines with the story that Collin builds around it to provide a revelatory and moving portrait of a great musician.

With bold and canny camera work that yields an uproarious parody of Ingmar Bergman’s “The Seventh Seal,” White dynamites the formalist restraint of art films and the bonds of narrative logic to unleash the primal ecstasy of the cinema.

Peele’s perfectly tuned cast and deft camera work unleash his uproarious humor along with his political fury; with his first film, he’s already an American Buñuel

Malik Vitthal’s first feature gives rich dramatic life to a piercingly analytical view of the American way of incarceration.

This arch, bold, and tender transposition of elements of the Nativity to the cramped secular life of a high-school student in current-day Paris is as much of an emotional wonder as a conceptual one.

A crucial episode of the nineteen-sixties, centered on both the space race and the civil-rights struggle, comes to light in this energetic and impassioned drama.

The director of Rogue One, Gareth Edwards, has stepped into a mythopoetic stew so half-baked and overcooked, a morass of pre-instantly overanalyzed implications of such shuddering impact to the series’ fundamentalists, that he lumbers through, seemingly stunned or constrained or cautious to the vanishing point of passivity, and lets neither the characters nor the formidable cast of actors nor even the special effects, of which he has previously proved himself to be a master, come anywhere close to life.

Happy Hour, a work of distinctly modern cinema, reaches deep into the classic traditions of melodrama—along with its coincidences and its violent contrasts—to revive a latent power for grand-scale observation through painfully close contact with the agonizing intimacies of contemporary life.

Beatty packs the movie with labored period references and unsubtle allusions to Donald Trump. He delights in Hughes’s high-handed wisdom, his high-stakes gamesmanship, and his petty idiosyncrasies, while looking ruefully at his paranoid reclusiveness.

Only Hailee Steinfeld’s committed performance as Nadine, a troubled high-school junior in Oregon, and Woody Harrelson’s deft turn, as a teacher who helps her, make this thin and cliché-riddled comic drama worth watching.

Locy infuses the film with empathy and wit, and his grandly bittersweet imagination pulls the story toward tragedy, but he also plays loosely with stereotypes better left behind.

Within the carnivalesque atmosphere and high-spirited revelry of Moore’s show, there’s a master of political rhetoric at work, and he devotes that mastery to a high patriotic calling. At its best, Michael Moore in TrumpLand is a moving act of devotion, a motivating turn of rhetoric of potentially historic import.

Jenkins burrows deep into his characters’ pain-seared memories, creating ferociously restrained performances and confrontational yet tender images that seem wrenched from his very core.

With its blend of terrifyingly intense family bonds and the howling furies of the world outside, this is a great American political film.

The animation, by Craig Staggs, has a notable imaginative specificity, and the meticulously complex interweaving of styles turns the film into a horrifying true-crime thriller that’s enriched by a rare depth of inner experience.