Film Reviews

In a season of sprawling epics and extravagant spectacle, Rebecca Hall's directorial debut is one of the year's finest exceptions: a quiet, focused film that knows exactly what it wants to be and efficiently achieves it.

Wes Anderson's devoting every resource at his disposal to realizing grander visions. The results are more like museums than paintings, more like restaurants than mere meals.

I'm hard-pressed to think of a more difficult conversation I've seen at the movies. Some will discover it, look up the 2021 Oscars, and wonder: Why was this overlooked?

This year's top prize at the Cannes film festival is an audacious, lurid circus that leaves me not only disappointed but actually regretting the experience.

Soderbergh is back doing what he does best — scattering criminals like billiard balls, and then knocking down one strong scene after another. He may not play a perfect game here, but this is one of his best in many years.

How does it make any sense to give our attention to the dramatization of a society's violent overthrow while we we are watching it happen in the real world, right now, either elsewhere in the world or here, either swiftly or in slow motion? Nevertheless, this might be the best time for us to watch Quo vadis, Aida? and open our imaginations to its characters.

Special guest reviewer Micah Rickard offers some reflections on a very tricky matter that Cartoon Saloon's Wolfwalkers handles particularly well.

Krasinski's follow-up to his smash-hit sci-fi thriller works like a charm — mostly because it's made up of familiar sequences that worked like a charm in better movies.