• The Disciple

    The Disciple


    I might need to revisit, as its sweepingly measured and melancholic to its credit, but also feels very much situated within the genre of "art made for (tragic) artists," which is one of the more annoying if we're being honest.

  • The Plastic House

    The Plastic House


    Often (mostly) gorgeously composed and there likely won't be better sonic texture this year, but just a little willfully opaque for me. Straddles sort of a weird thematic line. Not sure. Could grow on me.

  • Fauna



    Thesis as nesting doll.

  • The Human Voice

    The Human Voice


    Honestly, I'm the same way on the phone.

  • Mangrove



    Stacks the deck a bit too much in the first quarter, and then proceeds to mishandle its emotional construction. Works better as a (necessary) bit of agit-prop than a film of much nuance; the balance of true-life narrative and contemporaneous messaging doesn't quite meld.

    ^The above opinion was brought to you by your friendly neighborhood police abolitionist.

  • Undine



    In no world does this entirely click, but pleasantly ephemeral enough that you almost don't care. Incredibly minor Petzold, but that's not worth nothing.

  • Kajillionaire



    "There’s no denying that Miranda July’s particular idiosyncrasy shares DNA with a number of forgettable, mid-aughts indie comedies, but her weirdo shtick, then and now, is too outré to be regarded as stereotypical quirk. Her two previous films certainly toe the line of twee, but both succeed on her ability to imbue her affective ethos with humanist depth: Me and You and Everyone We Know weaves into its blanket eccentricity threads of acute honesty, and The Future, while less effective…

  • Enola Holmes

    Enola Holmes


    "Brown is the film’s undeniable strength, hamming it up with boundless charm, and Bradbeer rightly lets the film coast on the force of her swagger, but it’s really the only element that works. The central “mystery” is handled with extreme lassitude, without any dynamic twists or “a-ha!” reveal; even moments apparently meant to demonstrate Enola’s ingenuity — such as when she crosses to the other side of a hallway to confuse her pursuer — fall thuddingly flat. The whole affair…

  • Inconvenient Indian

    Inconvenient Indian


    "Inconvenient Indian succeeds where so many other documentaries fail — namely, in justifying its existence as a visual text. At first, Michelle Latimer’s documentary exhibits the character of a thesis film, and in fact opens with a bit of introductory, hyper-literate voice-over from Thomas King, author of the nonfiction work on which it is based. “The truth about stories is that’s all we are,” King intones in the first few minutes, before continuing: “Most of us think that history is…

  • Night of the Kings

    Night of the Kings


    The prisoners were drinking Johnnie Walker RED LABEL. This is a horror film.




    Just can't really bear these generic documentary treatments anymore. I'd rather read a book.

  • Wolfwalkers



    "In one standout sequence, a wall torch becomes a marvel of retro animation, geometric blocks of red and white shifting slightly, in almost 8-bit fashion, to create a flickering effect. Elsewhere, the film’s plentiful wolves are more reminiscent of Golden Age Disney animation than of Miyazaki, their exaggerated, angular proportions and goofy mugs infusing the film with yet another layer of comforting, yesteryear familiarity. If the film’s moral and narrative arcs remain less striking and predictably feckless, it’s largely part…