Review: Viena and the Fantomes
“Viena and the Fantomes” suffers under the illusion that the vulgar, the formless and the unpleasant are more “real” than their opposites.
Review: Tell No One
“Tell No One” is a workmanlike thriller that doesn’t attempt to subvert the genre.
Review: First Cow
A film so calm and quiet it’s practically inaudible, “First Cow” might have been made to watch while self-isolating.
Review: Sad Hill Unearthed
Why would anyone volunteer to spend hours, weeks and months rebuilding a fake cemetery? If you have to ask, you’ll never know.
Review: The Sunlit Night
“The Sunlit Night” is what people who dislike Wes Anderson think Wes Anderson is like.
Review: Radioactive
The Curies were fearlessly inventive and unbound by convention — more than can be said, unfortunately, for the makers of the Curie biopic “Radioactive.”
Review: The Portuguese Woman
Period films like “Girl with a Pearl Earring” and “Barry Lyndon” have often been called “painterly.” “The Portuguese Woman,” however, truly earns this label.
Review: The Baader Meinhof Complex
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.
Review: Waiting for the Barbarians
“Waiting for the Barbarians” is a film more interested in aesthetics than story or theme.
Review: Farinelli
The music is silky, yet forceful — the film, merely a gaudy spectacle.
