• Cry Macho

    Cry Macho

    Review by David Ehrlich

    In a world so impatient that people have started to whine about the injustice of movies playing in theaters for a few weeks before they (finally!) become available to watch at home, Clint Eastwood has spent the last 33 years waiting for the right time to make a sleepy, featherlight neo-Western about a widowed old rodeo star with nothing to live for, and the rooster named Macho who shows him the strength he needs to find…

  • The Eyes of Tammy Faye

    The Eyes of Tammy Faye

    Review by Kate Erbland

    More than a decade after the collapse of the sprawling empire created by televangelists Jim and Tammy Faye Bakker — due to the decidedly un-Christian demands of greed, sexual impropriety, and real affection for all things gold — Tammy Faye began to reemerge into very public life. The cherry on top of a motley career that saw the former television personality doing everything from appearing on “The Surreal Life” to penning a book about her ordeal…

  • The Guilty

    The Guilty

    Review by Kate Erbland

    It’s tempting to say only Jake Gyllenhaal could play the tricky leading role of a disgraced police officer in Antoine Fuqua’s jittery “The Guilty,” but that would be silly, because icy star Jakob Cedergren did play this role — in Gustav Moller’s 2018 original. But Cedergren never went quite so crazy, got so explosive, so positively unhinged. Star-producer Gyllenhaal, who bought the rights to Moller’s film almost right out the gate, makes the film his own.…

  • The Last Duel

    The Last Duel

    Review by Ben Croll

    Keeping true to its title in function and form, “The Last Duel” is at constant odds with itself. Alongside meticulous recreations of the late middle ages and a few of the worst hairdos ever put on screen, Ridley Scott’s lavish historical drama offers 152 minutes of dialectical tension, mirroring its climactic battle nearly beat for beat as different versions of what this film could be fight it out until only one remains standing. And like any…

  • Dear Evan Hansen

    Dear Evan Hansen

    Review by Tina Hassannia

    TIFF’s second year during the COVID-19 pandemic opened with a bigger slate (132 features compared to last year’s 60) and “Dear Evan Hansen,” an adaptation of the Tony Award-winning Broadway hit. Thematically, a film about a teenager grappling with loneliness and mental health problems makes perfect sense for the festival’s inaugural film. As artistic director Cameron Bailey noted during his introduction to the film, the coming-of-age musical touches on feelings many people have experienced during the…

  • INU-OH

    INU-OH

    Review by David Ehrlich

    Masaaki Yuasa has long established himself as one of the most creatively unbridled minds in all of modern animation — his expressionistic films (“The Night Is Short, Walk on Girl”) and television shows (“Devilman Crybaby”) alike exude a shape-shifting fearlessness that allows them to address old strifes with new sensitivities — but not even his die-hard fans could hope to adequately prepare themselves for the head-scratching, jaw-dropping, head-banging freak-out of the director’s latest and potentially last…

  • Halloween Kills

    Halloween Kills

    Review by Ben Croll

    Bodies break in “Halloween Kills.” Blood paints walls, knives show real ingenuity when finding new parts of the body to carve up, and a pair of eyeballs burst like grapes under the weight of two sausage-like thumbs. And for all that, for all the carnage Michael Myers unleashes on the residents of Haddonfield, IL, a masked madman might be the lesser of their concerns. Because even as they live with the toll and trauma of killer…

  • Shang-Chi and the Legend of the Ten Rings

    Shang-Chi and the Legend of the Ten Rings

    Review by Kate Erbland

    It starts with a legend: many centuries ago, a seemingly regular man was gifted with a set of 10 magical rings (origins: unknown) that allowed him to tap into a power beyond all human comprehension. For nearly a thousand years, this gifted man (played by Tony Leung, one of the world’s most gifted men) used the rings to gather the wealth and influence he desired, plus an army of decidedly meat-headed meanies who lived to carry…

  • Parallel Mothers

    Parallel Mothers

    Review by Nicholas Barber

    Pedro Almodóvar has made some radical and transgressive films in his time, but it’s fair to say that “Parallel Mothers” isn’t one of them. Not that that’s a complaint. The opening film at this year’s Venice Film Festival, “Parallel Mothers” offers many delights, one of which is that it ushers Almodóvar fans back to his comfortingly familiar milieu.

    Once again, we get to settle into those stylish apartments and pavement cafes in sunny Madrid (the film…

  • The Power of the Dog

    The Power of the Dog

    ★★★★½

    Review by David Ehrlich

    Jane Campion has kept busy enough in the 12 years since her last feature-length film, but her ice-blooded “The Power of the Dog” leaves the distinct impression that she spent every minute of that time sitting in a dark room and sharpening the same knife. Now, the “In the Cut” auteur returns with a poison-tipped dagger of a Western drama wrapped in rawhide and old rope; a brilliant, murderous fable about masculine strength that’s so diamond-toothed…

  • The Hand of God

    The Hand of God

    Review by David Ehrlich

    It would be accurate to say that Paolo Sorrentino’s work explores the relationship between the sacred and the profane, but such tepid wording fails to capture the orgiastic maximalism of “The Great Beauty,” speak to the sexed up sacrilege of “The New Pope,” or summon the I didn’t even see it because a Sorrentino movie about Silvio Berlusconi just sounded way too exhausting-ness of “Loro.” Calling “Il Divo” a film about a crooked politician would be…

  • The Card Counter

    The Card Counter

    Review by David Ehrlich

    “You get a job, you become the job.” That’s what a veteran cabbie named Wizard tells born-again hack Travis Bickle in Martin Scorsese’s “Taxi Driver,” which Paul Schrader wrote just before he turned 30. “I envy you, your youth,” he goes on to say. “Go on, get laid. Get drunk. Do anything. You got no choice, anyway. I mean, we’re all fucked. More or less.” As Travis learns the hard way a few reels later, Schrader…