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FILM


INTERVIEW: OZ PERKINS AND MAIKA MONROE ON ‘LONGLEGS’ AND THEIR FREEING
COLLABORATION

by Marshall Shaffer
July 6, 2024

Perkins and Monroe discuss working with Nicolas Cage, the film’s influences, and
more.


‘LONGLEGS’ REVIEW: OZ PERKINS’S RIVETING, IF RARELY REVELATORY, SERIAL KILLER
CHILLER

by Marshall Shaffer


‘DANDELION’ REVIEW: WORDS DON’T ALWAYS SING IN NICOLE RIEGEL’S SOPHOMORE FEATURE

by Steven Scaife


‘MADE IN ENGLAND: THE FILMS OF POWELL & PRESSBURGER’ REVIEW: TO THE ARCHERS,
WITH LOVE

by Chris Barsanti



‘SING SING’ REVIEW: A HUMANE, IF SELF-AWARE, LOOK AT HEALING THROUGH ART AND
COLLABORATION

by Greg Nussen
July 6, 2024

This is a film of noble intentions, and it boasts vulnerable performances from
its cast.


‘THE CONVERT’ REVIEW: NEW ZEALAND PERIOD DRAMA NEARLY SUCCUMBS TO WHITE SAVIOR
SYNDROME

by Derek Smith
July 6, 2024

The film isn’t well served by centering the perspective of Guy Pearce’s white
British preacher.


KARLOVY VARY FILM FESTIVAL 2024: LEOS CARAX’S ‘IT’S NOT ME’ AND ABDELLAH TAÏA’S
‘CABO NEGRO’

by Diego Semerene
July 6, 2024

It’s Not Me begins with a modest “I don’t know” as a riposte to a proposed
riddle.


‘BEVERLY HILLS COP: AXEL F’ REVIEW: ENTERTAINING LEGACY SEQUEL SEEKS COMFORT IN
NOSTALGIA

by Ross McIndoe
July 2, 2024

Like that infectious, iconic synth-pop theme, this is a film of familiar
pleasures.


FIDMARSEILLE 2024: ‘AN OSCILLATING SHADOW,’ ‘AMUSEMENT PARK,’ AND ‘KUNST DER
FARBE’

by Diego Semerene
July 1, 2024

These three films bear the scars from a region’s history of violence like a
fertile inheritance.


‘THE SUBSTANCE’ REVIEW: CORALIE FARGEAT’S EXHILARATING FEMINIST BODY-HORROR
FREAK SHOW

by Chuck Bowen
July 1, 2024

It’s impossible to deny that Fargeat’s film holds you even at its most frenzied.


‘EEPHUS’ REVIEW: A PLAYFUL, MELANCHOLIC ODE TO A FADING UNIVERSE AND THE TIES
THAT BIND

by Jake Cole
July 1, 2024

Carson Lund treats the power of a shared interest with profound, elegiac
empathy.


‘KILL’ REVIEW: NIKHIL NAGESH BHAT’S BOLLYWOOD ACTION EXTRAVAGANZA DOESN’T MISS A
BEAT

by Ross McIndoe
June 30, 2024

Kill continually finds clever ways to defy our expectations.


‘MAXXXINE’ REVIEW: MIA GOTH SLAYS IN TI WEST’S WELL-MADE BUT FORGETTABLE ’80S
PASTICHE

by Ryan Coleman
June 30, 2024

Goth shines so bright that she illuminates the limits of the film around her.


‘MOTHER, COUCH’ REVIEW: A STORY OF A FAMILY IN CRISIS, WEIGHTED WITH ALLEGORY

by William Repass
June 30, 2024

It’s unclear what the film gains by skewing away from a more straightforward
family drama.


‘THE NATURE OF LOVE’ REVIEW: A FUNNY, NONJUDGMENTAL LOOK AT SEXUAL EXPLORATION

by Wes Greene
June 30, 2024

The film engages with the stylings and bubbly tonality of the classic rom-com in
ironic fashion.


INTERVIEW: VERONIKA FRANZ AND SEVERIN FIALA ON THE FEMINISM OF ‘THE DEVIL’S
BATH’

by Marshall Shaffer
June 28, 2024

Franz and Fiala discuss how their main character’s struggles relate to the
present world.


INTERVIEW: CATHERINE BREILLAT ON THE LAYERS AND TRANSGRESSIONS OF ‘LAST SUMMER’

by Marshall Shaffer
June 28, 2024

Breillat discusses image-making and intimacy, scandal and subversion, denial and
desire.


‘A FAMILY AFFAIR’ REVIEW: NICOLE KIDMAN AND ZAC EFRON PUT ON A NORA EPHRON
KARAOKE ACT

by Ross McIndoe
June 27, 2024

Ultimately, Richard LaGravenese’s rom-com is a little too packed with
soul-searching speeches.


‘A QUIET PLACE: DAY ONE’ REVIEW: LUPITA NYONG’O GOES ON AN EXISTENTIAL SEARCH
FOR PIZZA

by Justin Clark
June 27, 2024

It’s in the very real, diseased specter of death itself that the film finds its
true power.


‘DADDIO’ REVIEW: SEAN PENN’S TAXI DRIVER PLAYS ARMCHAIR THERAPIST IN STILTED
TWO-HANDER

by Seth Katz
June 27, 2024

The characters may surprise each other, but they rarely surprise us.

1 2 3 … 824 Next
Advertisement



MOST RECENT POSTS

 * 
   Interview: Oz Perkins and Maika Monroe on ‘Longlegs’ and Their Freeing
   Collaboration
 * 
   ‘Longlegs’ Review: Oz Perkins’s Riveting, If Rarely Revelatory, Serial Killer
   Chiller
 * 
   ‘Dandelion’ Review: Words Don’t Always Sing in Nicole Riegel’s Sophomore
   Feature
 * 
   ‘Made in England: The Films of Powell & Pressburger’ Review: To the Archers,
   with Love
 * 
   ‘Sing Sing’ Review: A Humane, If Self-Aware, Look at Healing Through Art and
   Collaboration

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