Inheritance’s bizarre mismatch of form and content mostly saps it of life.
Arnold’s artful indulgences often detract from the film’s purported authenticity.
McQueen’s painterly eye and showmanship are put in service of a populist fable.
Often blunt and unwieldy, Mohammad Rasoulof’s film is nevertheless impactful.
Universal Language is aiming beyond mere satire or culture-clash playfulness.
Death Will Come is a conspicuously de-glamorized tale of violent characters on society’s fringes.
This tale of spiritual and neo-colonial exploitation is unfocused and unrelentingly somber.
These found-footage films further solidify Jude’s status as one of our most vital artists.
The film sees intimacy and isolation as two sides of the same coin.
A highlight of this year’s festival was the focus on the work of Basma Al-Sharif.
The film mostly fails to make a convincing case for Aardman’s old-school artisanal approach.
The film’s aura of sincere, uncomplicated Americana can be intoxicating and hard to resist.
Throughout, Diane Nyad is defined almost exclusively by the adversity over which she triumphs.
Fincher applies his calculating approach in service of a straightforwardly entertaining film.
Priscilla’s expanded canvas often obscures its emotional subtleties.
The film has an amorphous inconsistency that seems to be as much a feature as it is a bug.
This year’s festival was the site of more than a few alternately jarring and fruitful clashes.
The festival survived the trauma of lockdown to demonstrate impressive potential this year.
The film industry’s tribulations were the focus of some of the Korean competition’s best entries.
All three films are highlights of the festival’s the international competition