• Speak No Evil

    Speak No Evil


    I just know someone at A24 is already scheming to remake this. Genuinely shocking, but not in a way that's productive at all.

  • Ambulance



    This worked better for me than other Bay movies because it has almost no plot at all, so it strains much less hard to be about America and brotherhood and whatever else people claim he makes films about. Its vapidity is its strength: things going boom for 136 minutes in high style is good. Who knew! Also, legitimately great aerial photography in this one.

  • Barbarian



    I’m so sorry that I was not your mother. If I was your mother, you would’ve been so loved.

  • Three Thousand Years of Longing

    Three Thousand Years of Longing


    This is straining so hard to be Cloud Atlas, but George Miller, you could never!

  • The Heartbreak Kid

    The Heartbreak Kid


    A film of transgressions in which the greatest one of them all is becoming a WASP.

  • Bodies Bodies Bodies

    Bodies Bodies Bodies


    Rachel Sennott saying "body dysmorphia"

  • Trouble Every Day

    Trouble Every Day


    What, exactly, is this about? Beats me, although I'd have to guess it's something related to Denis's larger concerns about bodily autonomy and the impossibility of total liberation. What I do know is that this is styled in such an extraordinary, engrossing way that it manages to keep you rapt, even as it remains so oblique (arguably too much so, although that's a problem I have with most Denis films to varying degrees). Its imagery is so evocative: a rivulet…

  • Prey



    It says a lot that a sequence in which a character nearly drowns in mud is as good as, if not better than, some really exceptional action filmmaking within. Unusually sturdy for a movie of this sort, and conceptually rich in a way so little mainstream studio filmmaking is today.

  • The Parallax View

    The Parallax View


    Hums with a kind of weirdness that is all too rare for mainstream films these days. You can tell early on how much the filmmakers trust their audience—there’s almost no exposition, and what little there is is largely left hanging. The point here is to generate questions, not answer them, and in that way, it nudges viewers toward the psychological state of the characters here without being overly pushy about assuming the POV of certain characters. Severance found dead in a ditch!

  • Fire of Love

    Fire of Love


    “Why did they shoot this with their rationed feed of film? What, or who, was this for?” Me, apparently. Massaged that part of my brain leftover from when I was a kid who watched VHS tapes about natural disasters on repeat while also managing to be strange and engrossing. Probably the best editing in a documentary since Time.

  • Elvis



    Extremely unhinged in a way only Baz Luhrmann can do, and I mean that in a good way—no one could replicate a cultural artifact that is this strange, with this kind of coked-out energy, even if they tried. Flashy and stupid, and yet also kind of smart in that way?

  • The Swimming Pool

    The Swimming Pool


    Everyone is hot (in both senses of the word), no one is satisfied (also in both senses of the word), and the film seems content to transpose this dynamic onto the viewer, who will probably often feel bored. It is genuinely interesting to have an erotic thriller function somewhat like slow cinema, languorous long takes and all. It's kind of Antonioni-esque, but it's more like Adrian Lyne in that it promises to be sexy and then gradually makes clear it…