What a sad, rich movie Noah Baumbach has fashioned with Marriage Story, about a New York theater director and actress who call it quits after their personal and creative partnership has run its course. A semi-autobiographical, remarkably perceptive picture about the emotional spoils of…
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If Martin Scorsese never makes another mob picture (at least in the formal sense), his new magnum opus, The Irishman, might possibly be the final movie word on the subject. Certainly amongst the finest in an oeuvre that includes masterworks like Goodfellas and The…
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I suppose those longing for nostalgia might take a shine, if you’ll pardon the pun, to Doctor Sleep, the new movie sequel to The Shining, which spins a triptych of tales that converge in an expected, and unsatisfying, fan service climax. But for most, I suspect,…
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Everything you’ve heard about the Cannes-celebrated Parasite, or perhaps more pointedly, Scenes from the Class Struggle in Seoul, is tenfold true. A savage, toothy satire about social class, or more specifically, about the resourcefulness and eventual uprising of the underclass, it’s a picture that…
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Quentin Tarantino’s Once Upon a Time…in Hollywood—a gorgeous evocation of 1969 Los Angeles and bittersweet elegy for falling Hollywood stars and the passing of a definitive American era—is the work of an artist at the peak of his powers, which, if you believe him,…
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Midsommar, Ari Aster’s magnum opus follow-up to his deeply unsettling Hereditary, is a sophomore picture of command and precision, well-directed and frequently diverting in its tale of unsuspecting American collegiates venturing into a once-a-century celebration of pagan depravity. Yet as movie freak outs go,…
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The Last Black Man in San Francisco, an elegy for the idea of home and a lament for a vanishing culture in San Francisco, took this year’s Sundance directing prize for first-time filmmaker Joe Talbot and is a richly profound film and very nearly…
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