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Rating Title | Year Author Quote
Misery (1990) Rebecca Cleman One of the most effective translations of novel to screen.
Posted Jan 21, 2026  Edit critic review
Out of the Past (1947) Josh Martin It drips with barely contained sexuality and, at times, a streak of gleeful viciousness.
Posted Jan 08, 2026  Edit critic review
Death Race 2000 (1975) Rebecca Cleman Death Race is classic Corman: a stimulating frolic that knocks the legs out from under the raised platforms of patronizing culture makers.
Posted Dec 19, 2025  Edit critic review
From Beyond (1986) Patrick Dahl Not quite the household name that its predecessor eventually became, the film succeeds in equal measure as a digest of the adolescent fascinations that Gordon lovingly deployed throughout a righteously independent career.
Posted Oct 20, 2025  Edit critic review
To Sleep With Anger (1990) Veronica Fitzpatrick Stubbornly evocative, To Sleep with Anger sidesteps the undemanding lessons of a cautionary tale, showing its characters the very care they so pivotally, and memorably, extend to one another.
Posted Sep 22, 2025  Edit critic review
Dead Mail (2024) Elissa Suh Joe DeBoer and Kyle McConaghy's tactile, lo-fi thriller weaves disarming melancholy into this Misery-framework, infusing unwarranted empathy.
Posted Sep 25, 2024  Edit critic review
Ick (2024) Elissa Suh The hysterical melding of political and pop sensibility charges the movie with breathtaking originality.
Posted Sep 25, 2024  Edit critic review
Uncropped (2023) Amy Taubin A necessary document for anyone who cares about great journalism, and why it barely exists today.
Posted May 14, 2024  Edit critic review
Dad & Step-Dad (2023) Elissa Suh An endlessly quotable and unexpectedly poignant film that marries tranquil momentum with argumentative drollery.
Posted Mar 21, 2024  Edit critic review
The Strangler (1970) Elissa Suh Paul Vecchiali’s uniquely eccentric anti-giallo reshapes a serial-killer movie into a considered portrait of collective loneliness.
Posted Nov 15, 2023  Edit critic review
Here (2023) Elissa Suh Unassuming in scope but with far-reaching implications, Bas Devos’s Here (2023) uncovers meaningful connections between two disparate individuals and the worlds they occupy.
Posted Oct 10, 2023  Edit critic review
Inside the Yellow Cocoon Shell (2023) Saffron Maeve There’s a sophistication and assuredness which thins out in the second and third acts; as Thiện leans closer to his faith, he seems to pull away from, rather than expose himself to, the audience.
Posted Oct 03, 2023  Edit critic review
In Our Day (2023) Elissa Suh If In Water feels slight, its weight is substantially amplified when viewed in conjunction with In Our Day. Across both films, characters search for fulfillment, plumbing the depths of creative devotion.
Posted Oct 02, 2023  Edit critic review
In Water (2023) Elissa Suh In <i>The Novelist’s Film</i>, Hong took interest in how the rhythms of daily life find resonance within a creative mind. Here he more explicitly articulates the struggle to unlock expressive powers, capturing the practicalities of the process.
Posted Oct 02, 2023  Edit critic review
Youth (Spring) (2023) Jeva Lange Wang’s ambitions in this first part of a planned Zhili trilogy seem greater than just reminding Western audiences of the human cost behind the bargains on Shein.
Posted Oct 02, 2023  Edit critic review
All of Us Strangers (2023) Stephanie Monohan By sacrificing the restraint he typically wields so skillfully, Haigh keeps the film from being truly great.
Posted Oct 02, 2023  Edit critic review
Hit Man (2023) Elissa Suh The name of Linklater’s game is roleplay, and something so manufactured can only be so moving, or sexy.
Posted Oct 01, 2023  Edit critic review
The Human Surge 3 (2023) Mark Asch At once disorienting and amiable, marked by jumpy sudden cuts and long-take loungers, the film evokes digitally diasporic social life, with heterogeneous friendships as wormholes, traveling from phone to phone amid a jumble of different contexts.
Posted Oct 01, 2023  Edit critic review
New Strains (2023) Caroline Golum A vibrantly contoured alternative to what could have been, in lesser hands, an exercise in dour claustrophobia.
Posted Jul 18, 2023  Edit critic review
Heavenly Creatures (1994) Caroline Golum A pitch-perfect depiction of young womanhood, defying Lolita-ish cliche and bordering on the hysterical.
Posted May 15, 2023  Edit critic review
Rewind & Play (2022) Elissa Suh Fundamentally an essay film, Rewind & Play illuminates the chasm between tendentious interviewer and inscrutable subject and exposes the slyly pernicious relationship between Black artists and white media machine in the process.
Posted Mar 13, 2023  Edit critic review
Crooklyn (1994) Saffron Maeve An elegiac Bed-Stuy fairy tale.
Posted Mar 05, 2023  Edit critic review
The Five Devils (2022) Dana Reinoos The Five Devils interrogates the limits of forgiveness and the long shadow of the past; but at its core, it is a story about the bonds between mother and daughter.
Posted Mar 05, 2023  Edit critic review
A Tale of Sorrow (1977) Elissa Suh What launched as a largely flavorless rags-to-riches profile wrenches into a proudly florid and caustic critique—classic Suzuki.
Posted Feb 24, 2023  Edit critic review
A Difficult Life (1961) Elissa Suh Romantic drama and political ideals clash with unsuspecting force in Dino Risi’s cynical examination of Italy during the disorienting aftermath of World War II.
Posted Feb 21, 2023  Edit critic review
EO (2022) Saffron Maeve Skolimowski has always had an affinity for the experimental, but suffusing a source text defined by its stolid exposition with feverish, latter-day concepts ... is as clever as it is blasphemous.
Posted Oct 16, 2022  Edit critic review
Triangle of Sadness (2022) Joshua Bogatin The sum total of the film’s chapters equals a general portrait of petty human cruelty more than any distinct class analysis.
Posted Oct 16, 2022  Edit critic review
White Noise (2022) Cosmo Bjorkenheim Although White Noise has now been filmed, it feels as unfilmable as ever.
Posted Oct 16, 2022  Edit critic review
Alcarràs (2022) Maxwell Paparella So renowned for her naturalistic treatment of early childhood in Summer 1993, Simón shows range here, demonstrating her faculty too with the aged, the adult, and the adolescent.
Posted Oct 06, 2022  Edit critic review
Zodiac (2007) Stephanie Monohan Zodiac, ironically, rewards revisiting over and over, while commenting on the spiritual degradation of doing so.
Posted Oct 02, 2022  Edit critic review
Stars at Noon (2022) Courtney Duckworth Stars at Noon suggests a scrambled firmament where once-fixed waymarks falter, winking hazily in the wrong light.
Posted Oct 02, 2022  Edit critic review
Belly (1998) Patrick Dahl Sanctimonious, silly, occasionally brilliant and exquisitely vivid, Hype Williams’s Belly (1998) crowned the decade in which hip-hop swallowed popular culture, and we never looked back.
Posted Sep 14, 2022  Edit critic review
Casa Susanna (2022) Mark Asch The archival images in Casa Susanna show an embrace of mainstream femininity, the norms of the society that made it a risk to even pose for them, and it is astonishing and beautiful that they survived.
Posted Sep 14, 2022  Edit critic review
Demon Seed (1977) Stephanie Monohan Donald Cammell’s techno-natal-horror film turns a domicile of the future into a claustrophobic chamber of female oppression.
Posted Sep 14, 2022  Edit critic review
Viking (2022) Mark Asch The entire premise feels like a very Canadian joke, almost patriotic in its knowing self-deprecation.
Posted Sep 14, 2022  Edit critic review
Saint Omer (2022) Mark Asch [Saint Omer] treats the unaccountable power of witchcraft as a metaphor for the liminal sinkhole between the West and its former colonies.
Posted Sep 14, 2022  Edit critic review
Chuy, The Wolf Man (2014) Patrick Dahl As it expands beyond the portrait of a medical curio, Chuy, The Wolf Man details pregnancies, immigration attempts, and marital troubles. The richness of these stories doesn’t require a physical abnormality to resonate.
Posted Aug 09, 2022  Edit critic review
Who Slew Auntie Roo? (1972) Saffron Maeve An exercise in hagsploitation and mommy issues (the two are seldom mutually exclusive), Preminger pastiche and folk-tale simplicity, <i>Whoever Slew Auntie Roo?</i> is a terribly good time.
Posted Jul 02, 2022  Edit critic review
Peau D'ane (1970) Saffron Maeve A work so warmly assured that it eludes the parabolic quality of its source material, censuring nothing but laughing at everything.
Posted Jul 02, 2022  Edit critic review
Life Is Sweet (1991) Saffron Maeve <i>Life Is Sweet</i> is packed with effusive beats and familial fractures, spackling over the cracks with chocolate and treacle-soaked spinach.
Posted Jul 02, 2022  Edit critic review
The Happiness of the Katakuris (2001) Saffron Maeve A defibrillator to the brain, with slutty sumo wrestlers and rolling hills to boot.
Posted Jul 02, 2022  Edit critic review
Midnight (1982) Saffron Maeve It’s a horror film so mild as to inspire criticism on its own terms, but vexing enough to spook the censors all the same.
Posted Jul 02, 2022  Edit critic review
Sleepless (2001) Saffron Maeve <i>Sleepless</i> sates our strangest urges.
Posted Jul 02, 2022  Edit critic review
2nd Chance (2022) Patrick Dahl [Davis] is ultimately that archetypal American figure, the unflappable charlatan amassing wealth by carving breaches in the membrane separating media fantasy and political reality.
Posted Jun 30, 2022  Edit critic review
Paris, 13th District (2021) Amy Taubin A film of criss-crossing storylines, all of them suggesting that coming-of-age narratives should not be limited to adolescents and may very well pertain to some of us until we die.
Posted Apr 15, 2022  Edit critic review
Lingui, The Sacred Bonds (2021) Amy Taubin A pictorially elegant, gorgeously colored, radical feminist film.
Posted Feb 04, 2022  Edit critic review
Poly Styrene: I Am a Cliché (2021) Dana Reinoos Among the finest mother-daughter documentaries.
Posted Feb 02, 2022  Edit critic review
Introduction (2021) Jon Dieringer Hong's films are seemingly guided by the faith that ... discomfort can ripen with comic pleasure and, if you look hard enough, shiver with the profound.
Posted Jan 24, 2022  Edit critic review
Benedetta (2021) Margaret Barton-Fumo A fantastically shrewd, grotesque satire, and so very Verhoeven, down to the final shot.
Posted Jan 10, 2022  Edit critic review
Compartment No. 6 (2021) Annie Geng Kuosmanen has a gift for the understated. His images, even at their most minimal, teem with so much: hushed feelings that reject precision, emotions that crackle with illogical circuitry.
Posted Jan 10, 2022  Edit critic review
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