by Mark Asch
A corrupt cop chases two serial killers through Tokyo’s underworld in Takashi Miike’s contribution to the Bad Lieutenant series.
An impressive showcase for Jesse Eisenberg’s musical theatre hobby, but this is Julianne Moore’s movie all the way.
The passion project that Zack Snyder has spent the last two decades developing is an unforgivably dreadful, turgid slog.
Chris Rock’s latest feature leans hard on Rosalind Eleazar’s lead performance as a fading actress to carry a plot that rarely rises to meet her.
Anna Biller’s long-awaited follow-up to her cult classic The Love Witch adapts the famous Japanese ghost story Yotsuya Kaidan for 14th century England.
When Taron Egerton’s nice guy becomes irresistible overnight, Jonathan Schey’s takedown of performative allyship becomes a performance of its own.
by Jenna Mahale
Sophy Romvari’s feature debut is a formally adventurous, touching portrait of childhood.
Arnaud Desplechin is on fine form with this drama in which a pianist finds himself caught between the future and the past.
Steven Soderbergh casts Sir Ian McKellen and Michaela Cole in his London-set art world drama.
Claire Denis’ fourth film shot in Africa concerns an American foreman attempting to smooth over the death of a worker, starring Matt Dillon and Isaach de Bankolé.
Roman Gavras’ timely satire, set in the world of the über rich, fails to cut despite its starry cast.
Aneil Karia’s Hamlet, starring Riz Ahmed as the doomed prince, is an occasionally beautiful but largely inert exercise.
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