THE SOCIAL RECKONING is an absorbing look at the process of airing Big Tech’s dirty laundry. However, in its desire for catharsis and heroes the film itself reckons with very little. The film stares into the algorithmic abyss, blinks, and looks away.
THE MATCH is a dynamic and bold look at Argentina v England in 1986, but the narrow focus starts to feel like fawning and incurious tunnel vision rather than dedicated analysis.
I LOVE BOOSTERS is a disorienting rip through numerous ideas, but if recent years have shown anything, it’s that we have to drink from the fire hose and do our best to take action now. Now is not the time for nuance.
Zinedine Zidane has a case to be the most cinematic of footballers. ZIDANE: A 21ST CENTURY PORTRAIT stands as a key pillar of his enduring mystical status twenty years on.
THE SAVIORS has interesting things to say about xenophobia, suspicion, and acceptance, even if it holds its most interesting cards in reserve for a hand it never ends up playing.
Conservative commentators may not yet connect with Zohran Mamdani’s words at his inauguration, but cinema heard them and is articulating what civility and empathy are for.
Nolan’s choice to adapt the Odyssey shows the continuing influence on modern storytelling, and the technical choices are emblematic of Nolan’s domination of modern blockbuster filmmaking.
BLUE HERON is a gentle demonstration of cinema’s power, and Romvari’s ability to create a tangible, shared experience of something difficult to put into words. The film is one of fuzzy memories & half-truths, but the impression it leaves is firm & enduring.
BACKROOMS is an eerily realised creative vision, but it’s difficult to escape the idea that it takes a suboptimal turn away from the technical strengths that give this adaptation such a firm footing.
MICHAEL will inevitably attract ire with its depiction of Jackson’s life, or, more accurately, what it seems to omit. However, MICHAEL is also an inexplicably boring film which is bland at best and cowardly at worst.
