Author: Marya Gates

An expansion of a trio of viral shorts is, surprisingly, one of the most profound and introspective films to come out of COVID isolation cinema.

Emma Thompson is raw and radiant in the sex-positive crowd-pleaser the movie landscape needs right now.

David Cronenberg’s latest is a body-horror infused sci-fi film noir more interested in posing questions than answering them.

This year’s Sundance-anointed horror favorite delivers the requisite shocks and thrills, with plenty of thoughtful character drama to boot.

Jane Schoenbrun’s haunting, low-budget psychological horror drama delves uncomfortably deep into living one’s life online.

Janus Metz Pedersen’s slow burn espionage thriller has plenty of ambition and two game stars, but little else going for it.

Kogonada’s new soft sci-fi is a thoughtful, emotional exploration of memory, family, and interconnectedness.

Channing Tatum makes his (co)directorial debut in a film that is not without its charms – or considerable flaws

Joachim Trier’s festival favorite boasts a wonderful lead performance, but the filmmaker’s shallow understanding of her plight makes for an uneven viewing experience.

Asghar Farhadi’s latest is another tricky tale of compromised morality and conflicts of both a personal and political nature.

Maggie Gyllenhaal makes an electrifying feature directorial debut with this stunning adaptation of Elena Ferrante’s novel.

The latest comedy from “Tangerine” director Sean Baker is a fumble, too sympathetic to its loathsome protagonist.