Musician-turned-filmmaker Boots Riley is proving to be Hollywood’s most audacious, leftist iconoclast. Seems like a contradiction in terms, which is perhaps why his films take no chances on being misconstrued. His first film, 2018’s SorryRead Full Review

You watch a movie like Send Help – a very clever, well-written, star-led genre film – and you can get a good sense of the state of the industry today. The movie is directed byRead Full Review

There are three scenes of babies being born over the course of Hamnet, and not a single umbilical cord to be seen. Chloe Zhao is too detail-oriented a filmmaker for this to be an oversight.Read Full Review

Ira Sachs’s latest film, Peter Hujar’s Day, is pretty transparent about its intentions. The movie is more art experiment than narrative feature. The totality of what we watch is based on a portion of anRead Full Review

The films of director Kleber Mendonça Filho are fascinating crosses between the cerebral and the spectacle. There’s a bold, unapologetic political streak that runs through his screenplays, and his public appearances reinforce his anti-authoritarian views.Read Full Review

The hook of Song Sung Blue – two performers meet at middle age and decide to form a Neil Diamond tribute group – feels like a stretch for a movie premise. So when you learnRead Full Review

Josh Safdie is a stylist of the highest order. Until his latest film, Marty Supreme, he shared all directing credit with his brother Benny, and in less than a decade they did a great jobRead Full Review

Movies like The Rip used to be twice as good at half the cost. When streamers like Netflix decide to dip their toe in these mid-budget genre waters, it becomes readily apparent that so muchRead Full Review

Ever since his debut film, Reprise, in 2006, Norwegian director Joachim Trier has always had an interest in fusing the literary and the cinematic. He and his writing partner, Eskil Vogt, often utilize framing devicesRead Full Review