One may look at the premise for Blue Moon – a real-time dramedy about Lorenz Hart monologuing against the dying light – and feel it’s too constrained; better set for the stage than for theRead Full Review

Richard Linklater is a filmmaker defined by his refusal to be defined. He’s one of the most beloved figures of the 90s indie revolution, but has proven quite capable of producing good Hollywood films. He’sRead Full Review

In Train Dreams, co-writer/director Clint Bentley gives us a lush view of a quaint American life. The power in the storytelling comes in the contrast between the seeming ordinariness of our protagonist and the vastRead Full Review

Guillermo Del Toro’s transition from superlative genre master to awards season mainstay happened – for the most part – without Del Toro sacrificing the seedier elements of his creature feature obsessions. Still, it’s hard notRead Full Review

In his last three films, German director Edward Berger has established himself as a superlative stylist. All Quiet on the Western Front was a deadly serious literary adaptation that announced Berger to the world becauseRead Full Review

Hedda allows us to see a Nia DaCosta untethered to various Hollywood IP. After her excellent debut film, Little Woods in 2017, she resurrected the 90s horror film Candyman in 2021, before directing the mostRead Full Review

Seeing A House of Dynamite two weeks after Paul Greengrass’s The Lost Bus really puts some unexpected shine on Greengrass’s ability to pass boilerplate Hollywood screenwriting for verité docudrama. In any universe, Kathryn Bigelow isRead Full Review

Few filmmakers feel more coded to the early 2000’s than Paul Greengrass. His handheld verité style lent itself well to the emergence of digital cinematography that “democratized” the filmmaking process and gave many directors aRead Full Review

The post-modernist novels of Thomas Pynchon seem to defy adaptation. His 1990 novel Vineland feels especially resistant to a non-literary interpretation, dominated as it is by dense, eccentric prose and enigmatic characters. One Battle AfterRead Full Review

Splitsville is the second film of 2025 that stars Dakota Johnson and also satirizes the perfunctory politics of heterosexual relationships. The first, Materialists, was from Celine Song, and tried to mix sincerity with a playwright’sRead Full Review