Pet Shop Days (2023)
23%
“A crime cocktail so bland and uninspired (despite being heavily inspired) that all it makes you want to do is press charges against those who served it.” –
In Review Online
Apr 3, 2025
Full Review
Being Maria (2024)
62%
“Jessica Palud's Being Maria — positioned as a feminist response to Bernardo Bertolucci's toxically male Last Tango in Paris, released in 1972 — is an undisputed triumph.” –
In Review Online
Apr 3, 2025
Full Review
Santosh (2024)
100%
“The titular character's rebellion in Santosh is precisely the opposite of a Bollywood-sanctioned-social-issue film: devoid of loud and clear performativity, and instead filled with a valuable form of hauntingly probing uncertainty.” –
In Review Online
Jan 2, 2025
Full Review
Flow (2024)
97%
“As Flow's black cat gently drifts from one gorgeously rendered 3-D environment into another, it becomes nearly impossible to resist the film's humble charms and ambivalence toward the supposed requisites of animated filmmaking.” –
In Review Online
Nov 25, 2024
Full Review
Memoir of a Snail (2024)
95%
“[Memoir of a Snail] feels more like the kind of synthesized Oscar-baity miserabilist drama that seems designed to manipulate viewers' emotions than anything else.” –
In Review Online
Oct 25, 2024
Full Review
April (2024)
94%
“Whatever the intended rationale... the critical thing is that Kulumbegashvili’s aesthetic experimentations leave an emotional impression.” –
In Review Online
Oct 7, 2024
Full Review
His Three Daughters (2023)
98%
“[Olsen's] anchoring performance is always entertaining and enthrallingly enigmatic... It is, like the most moving depictions of grief in cinema itself, fundamentally and thrillingly unclassifiable.” –
In Review Online
Sep 20, 2024
Full Review
Eureka (2023)
83%
“[Part 3] feels merely additional, not additive: a needless elongation of an excellent 83-minute film into a murkier 147-minute one...It’s not a fatal flaw for...a film otherwise this impressive, but the protraction is a frustrating way to see things off.” –
In Review Online
Sep 19, 2024
Full Review
City of Dreams (2024)
52%
“[The] whole thing reflects, if not literally then at least metaphorically, an act of opportunism and exploitation on par with what Ramchandani seems to want to critique, but fails to do convincingly.” –
In Review Online
Sep 6, 2024
Full Review
Greedy People (2024)
59%
“We find the tricky tonal balance — between overplotted, farcical character drama and starkly sincere emotion — that Ponciroli and writer Michael Vukadinovich consistently want to strike but rarely manage to.” –
In Review Online
Aug 23, 2024
Full Review
Shambhala (2024)
89%
“It wants to achieve transcendence through its slow cinema aesthetics, but it’s too conventionally narrativized to do so.” –
In Review Online
Aug 22, 2024
Full Review
Transamazonia (2024)
“The statement that settler colonialism robs Indigenous people of the tangible and intangible is loud and clear, and correct... But where's the drama? Where's the emotional and spiritual struggle that gives weight to the point that Transamazonia makes? ” –
In Review Online
Aug 15, 2024
Full Review
Great Absence (2023)
86%
“Its constant attempts at soul-searching for mysterious absences through narrative overload only make emphasizes its essential, damning absences: of intrigue, mystery, emotion, and intellect.” –
In Review Online
Jul 17, 2024
Full Review
The Devil's Bath (2024)
91%
“The rest of The Devil's Bath is nothing more than a drab depiction of what all these troubles are that make another peasant woman... so weary of her life as to commit murder.” –
In Review Online
Jun 24, 2024
Full Review
All We Imagine as Light (2024)
100%
“Kapadia, through her patient and soulful film, wants to restore some of the time people feel the city has taken away from them.” –
In Review Online
May 30, 2024
Full Review
Blue Sun Palace (2024)
100%
“All the essential questions raised throughout revolve around the film’s form: the attractions of cinema here well and truly usurped any (emotional) attachment to cinema. ” –
In Review Online
May 27, 2024
Full Review
Alam (2022)
100%
“Alam is a profoundly compassionate and valuable film about a boy gradually learning to see and value personal and political details that he ignored beforehand.” –
In Review Online
Apr 30, 2024
Full Review
Amar Singh Chamkila (2024)
88%
“Amar Singh Chamkila, in brief flashes, promises something so thrillingly incomplete and contradictory that it's a little disappointing to see it slowly but surely slip into the cozy blanket of a conventionally well-made hagiography.” –
In Review Online
Apr 17, 2024
Full Review
The Walk (2023)
“The film's necessitated sameness of life experiences, despite its feeble attempts at personalization, undermines the wide-ranging spectrum of experienced life.” –
In Review Online
Apr 14, 2024
Full Review
Femme (2023)
93%
“It’s the friction, not either adherence to genre convention or total abandonment of it, that also extends to the notion of gender in Femme, leaving it to feel, at all times, both static and dynamic.” –
In Review Online
Mar 25, 2024
Full Review
Merry Christmas (2024)
85%
“Merry Christmas, in these final moments, almost stealthily, becomes a moving fairytale about rebirth and redemption.” –
In Review Online
Mar 11, 2024
Full Review
Lost Ladies (2023)
100%
“It's unexpectedly cathartic in the best way possible, and it reflects the most convincing reason to watch an otherwise pleasant but forgettable film.” –
In Review Online
Mar 2, 2024
Full Review
The Kitchen (2023)
91%
“This isn't a believable utopia, then, but a magical one... [And] its ineffective placement within the film's otherwise grounded dystopian world leaves viewers consistently questioning its legitimacy and believability.” –
In Review Online
Jan 20, 2024
Full Review
Smoke Sauna Sisterhood (2023)
98%
“Smoke Sauna Sisterhood, then, stands as a rare, polished gem: a feminist film that reveals the infinite faces of womanhood without ever exposing or demystifying them.” –
In Review Online
Nov 22, 2023
Full Review
Four Daughters (2023)
96%
“[Four Daughers] doesn’t reveal the truth by blurring reality and fiction. Instead, Ben Hania’s film... pieces together memories and emphasizes (rather than minimizes) the effort it takes to reconstruct them.” –
In Review Online
Oct 30, 2023
Full Review
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