'Parasite' combines the broad satire of Bong Joon-Ho’s recent output with the fascination with the power structures of South Korean society.
'Oh Mercy!' winds up as mixed bag, to say the least, with a masterful first half that eventually devolves into a TV cop drama.
The Dardenne Brothers' 'Young Ahmed' fails in producing a religious portrayal with any sophistication or nuance.
Gaspar Noé’s pint-sized 'Lux Æterna' is an exercise in self-aggrandizement disguised as a feminist deconstruction of the injustices of the film industry.
'Atlantics' is subtle and sensitive while never seeing inert, handling its gradual, haunting slide into eerie genre territory with ease.
Pedro Almodóvar’s 'Pain and Glory' frames itself as a confessional, but it is ultimately content to merely scan the surface.
Nicolas Winding Refn's 'Too Old to Die Young' is vile, ugly, joyless television.
While its jokes themselves are often a mixed bag, 'The Climb' handles its low-stakes narrative with enough formal ingenuity, emotional insight, and unpretentious good spirit to...
'Beanpole' offers gorgeous imagery, but character portrayals too often lapse into the ridiculous, and its studied style ultimately detracts.
Ken Loach's 'Sorry We Missed You' depicts a desperate working class, while conjuring the most arresting images of his career.