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  • Hustlers



    HUSTLERS fucking RULES! as stiletto-sharp & satisfying a story of financial crisis as Hollywood has made since 2008. Jennifer Lopez hasn’t been this good since Out of Sight. hell she wasn’t even this good *in* Out of Sight.

    HUSTLERS XXL is gonna be the best film ever made.

  • Knives Out

    Knives Out


    Rian Johnson’s “Knives Out” — a crackling, devious, and hugely satisfying old-school whodunnit with a modern twist — wants you to know that it takes place in the world of today. In fact, it wants you to know that it wants you to know. Hardly a minute goes by without some reference to the here and now of it all. When legendary crime novelist Harlan Thrombey (Christopher Plummer) is found dead the morning after his 85th birthday, it’s as if…

  • True History of the Kelly Gang

    True History of the Kelly Gang


    Nicholas Hoult interrogating a baby at gunpoint + Justin Kurzel's barren, demented, hyper-subjective vision of turn of the century Australia = a solid time at the cinema. all hail the man behind Assassin's Creed!

  • The Friend

    The Friend


    Gabriela Cowperthwaite’s “The Friend,” an honest but insistently scattershot true-life tearjerker adapted from the Esquire article of the same name, starts with its most cogent and powerful scene. Dane — a kind, soft, Totoro of a man played by the always sincere Jason Segel — sits on the porch of a midwestern home and plays a game with two young girls. Inside the house, their parents use the calculated moment of calm to strategize. Matthew Teague (Casey Affleck) sits alone…

  • Mosul



    It’s often said that specificity is the key to making something feel universal. It’s much less often said that universality is the key to making something feel specific. Matthew Michael Carnahan’s intense, relentless, and undeniably visceral “Mosul” — which takes both of these approaches at the same time as if trying to flank the truth from each side — provides all the evidence you’d ever need as to why that might be the case.

    A true enough story inspired by…

  • Waves



    WAVES feels like A24’s Magnolia. an operatic plea for people to be better to each other, and a cautionary tale about why you should be wary of anyone whose favorite Kanye album is The Life of Pablo. a whole lot of it doesn't work but i couldn't help but respect the ambition and open-heartedness of it all.

  • Babyteeth



    Rooted to the bloody tissue of real life and enameled with traces of early Jane Campion, “Babyteeth” is the kind of soft-hearted tearjerker that does everything in its power to rescue beauty from pain; the kind that feels like it would lose its balance and tip right off the screen if it stopped being able to walk the line between the two. And yet, despite a handful of shaky moments and a story that sounds like a supercut of all…

  • Guest of Honour

    Guest of Honour


    A riveting but utterly ridiculous melodrama about the burden of guilt and the value of bunny shit, Atom Egoyan’s “Guest of Honour” layers one absurd turn on top of another with the confidence of a veteran architect, and yet — even at its most perversely entertaining — this very unpredictable movie only feels as if it’s working in spite of itself.

    Egoyan, a Canadian filmmaker who found success at a young age with hits like “Speaking Parts” and “The Sweet…

  • About Endlessness

    About Endlessness


    There’s something amusingly dry about the idea of a 76-minute film called “About Endlessness,” but Roy Andersson isn’t joking. Well, he isn’t only joking.

    A Swedish renegade whose pointillistic dioramas of the human condition are pieced together with drollness in much the same way as George Seurat’s landscapes were painted with dots, Andersson has always been amused by the sheer absurdity of life on Earth. His films laugh at the perversities of existence, the purgatorial likes of “Songs from the…

  • Martin Eden

    Martin Eden


    Jack London — an avowed socialist who found himself struggling to reconcile his political ideals with his personal success — intended for “Martin Eden” to be a damning critique of the individualism that spurred his fame. “White Fang” and “The Call of the Wild” had earned the low-born writer an invitation into high society, but he struggled to square the untamed working man he was with the celebrated author he’d suddenly become; still at heart the same person he had…

  • The King

    The King


    A large-budget, medieval war movie that’s loosely based on Shakespeare’s “Henriad” and the historical events that inspired those plays, David Michôd’s “The King” is so eager to be a mud-and-guts epic about inherited violence and the corruption of power that it loses sight of the rich coming-of-age story at its core. It’s hard for a good man to be king, and it’s even harder for a king to be a good man — that idea only feels relevant to the…

  • Wasp Network

    Wasp Network


    Even Wayne Gretzky missed the net a couple of times over the course of his career. An overstuffed espionage thriller that bites off more than it can chew and never manages to find its footing, Olivier Assayas’ “Wasp Network” is an exceedingly rare gaffe from one of the greatest filmmakers of the last 30 years. Even so, his restless genius can still be felt percolating below the surface and struggling to come up for air. While this scattered, staccato dramatization…