Film
From Matthew Rankin’s delirious Brian Mulroney spectacle to Ashley Duong’s intimate family history, TIFF’s Canadian slate offered films unlikely to draw attention anywhere else.
Zach Cregger’s comedic instincts have overtaken his skill as a horror director. Resident Evil is more like a gory stoner comedy than an all-gas-no-brakes horror ride.
At the New Museum, “I Am Tony” turns film, music, violence, memory, and Black creativity into a searing visual reckoning.
David Kittredge’s lively, illuminating documentary revisits John Boorman’s troubled 1977 “Exorcist II: The Heretic”—a studio-era fiasco whose ambition, artistry, and afterlife now demand a second look.
In films about Franco’s disappeared, AI companions, Iranian exile, and an Indian South African family’s buried history, the Camden International Film Festival finds digital—and analog—means of restoring bonds fractured by violence, loss, and time.
Sandra Bullock and Nicole Kidman return to the Owens family in a handsome, fan-friendly follow-up whose appealing cast and witchy atmosphere cannot overcome a disjointed, derivative script.
Orlando von Einsiedel’s documentary follows an Indian portrait artist’s extraordinary bicycle journey from Delhi to Sweden—and the improbable love story that inspired it.
Director Rafael Manuel’s dazzling debut turns a fantastical Philippine golf resort into a miniature world of caste, exploitation, and resistance.
This lush, beautifully acted adaptation follows a young woman’s struggle to pursue astronomy—and defy the sexist conventions of Edwardian England.
Film Music Commentary: Why “The Odyssey” Should Have Been a Silent Film
Christopher Nolan’s high-tech Homer struggles to achieve epic grandeur; Fritz Lang’s “Die Nibelungen,” with its stylized images and Gottfried Huppertz’s symphonic score, shows what modern spectacle leaves behind.
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