An impressionistic portrait of three youths amid the landscape of contemporary urban Russia.
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This documentary on the phenomenon of chronic Lyme disease may not make a slam dunk case, but it offers plenty of musings on the nature of medical diagnosis and treatment for a society emerging from a global pandemic.
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This avant-garde documentary about the decommissioning of a nuclear power plant asks the viewer for total surrender, but doesn’t earn it.
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Matt Sarnacki’s documentary traces the explosive fallout of the murder of Slovakian journalist Ján Kuciak and his fiancée Martina Kušnírová on February 21, 2018.
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Sean Wang’s film provides a concrete example for abstract discussions of “global supply chains.”
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This adaptation of the popular graphic novel series for kids is somewhat charming, but still falls prey to many of today’s worst excesses in contemporary children’s animated fare.
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Cody Sheehy’s documentary about Dr. He Jiankui is saved by the strength of its subject matter.
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Shameela Seedat’s African Moot uses its seemingly low stakes competition as a microcosm for the larger legal world.
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Windfall is a minimalist thriller whose modest dramatic tension is thrown off balance by its miscasting.
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Netflix’s stop-motion anthology film is often chilling, occasionally amusing, and visually intricate.
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Richard Linklater’s Apollo 10 ½: A Space Age Childhood offers a warm hug of 1960s space age nostalgia.
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Ti West’s X is a nasty, entertaining slasher with well-developed characters and some surprising moral commentary.
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Matt Reeves’s take on Batman is brooding, stylish, and refreshingly cinematic.
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This 2015 documentary about Ukrainian Pastor Gennadiy Mokhnenko asks the question: what does it look like to live out the gospel in the modern world?
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Gaslight is a brilliant, disturbing portrait of psychological torment in the domestic sphere.
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The new Texas Chainsaw Massacre requel is stylish and short, but it has a dearth of compelling characters and story at its centre.
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Steven Soderbergh’s new techno-thriller set during the pandemic is timely and stylish, but narratively predictable.
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Joachim Trier’s The Worst Person in the World expresses the ineffable in ways that are rarely achieved on film.
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Warren Beatty’s political satire, Bulworth, finds new relevance in a post-Trump world.
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Spider-Man: No Way Home is fun as a movie, but troubling as a statement about where Hollywood is headed.
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