Despite its politically rarefied subject matter, “The Baader Meinhof Complex” plays like “The Dark Knight”: a gritty, tense thriller that grounds its frequently bizarre subject matter with a matter-of-fact style.
Period films like “Girl with a Pearl Earring” and “Barry Lyndon” have often been called “painterly.” “The Portuguese Woman,” however, truly earns this label.
The Curies were fearlessly inventive and unbound by convention — more than can be said, unfortunately, for the makers of the Curie biopic “Radioactive.”
“The Sunlit Night” is what people who dislike Wes Anderson think Wes Anderson is like.
Why would anyone volunteer to spend hours, weeks and months rebuilding a fake cemetery? If you have to ask, you’ll never know.
A film so calm and quiet it’s practically inaudible, “First Cow” might have been made to watch while self-isolating.
“Tell No One” is a workmanlike thriller that doesn’t attempt to subvert the genre.
“Viena and the Fantomes” suffers under the illusion that the vulgar, the formless and the unpleasant are more “real” than their opposites.
What can be said about “Twisted Pair,” an 89-minute plunge into a vortex of total lunacy?
Made with skill, if not inspiration, “You Should Have Left” is consistently engaging despite rarely from long-established haunted-house conventions.