Our mini-reviews of ‘Infared,’ ‘Gulliver Returns,’ ‘Shalom Taiwan,” and more of the new straight-to-VOD fare.
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Jordan Peele’s latest is ambitious, thoughtful, and occasionally thrilling – but it never quite pulls together into a coherent whole.
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Jono McLeod’s Sundance selection is a documentary with a trick or two (or, perhaps, a trick too many) up its sleeve.
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The problem with ‘Persuasion’ isn’t just its near-heretical take on the Jane Austen classic; it’s that it does it so poorly.
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Olivia Newman’s much-ballyhooed adaptation of the 2018 bestseller is a maddeningly generic piece of work.
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Our mini-reviews of “Karmalink,” “The Summoned,” “Love Accidentally,” and more of this week’s straight-to-home-viewing fare.
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Antoneta Alamat Kusijanovic’s keenly observed drama zigs when you expect it to zag, drawing the viewer in with four perfectly tuned performances.
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Claire Denis’ latest isn’t her first movie to deal with infidelity, but her third collaboration with Juliette Binoche still uncovers new ground in the erotic thriller genre.
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This Regency rom-com has the expected empire-waist dresses of Austen adaptations, but it misses what makes her work so enduring.
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The new horror thriller offers up some striking visuals and compelling themes, but fumbles the execution.
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Peter Strickland is a true original – and his latest feature, unsurprisingly odd as it is, may also be his most approachable.
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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.
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