Crime Thriller ‘Deep Cover’ Showcases Laurence Fishburne’s Leonine Intensity
Bill Duke’s 1992 feature, Deep Cover, is a stylish drama set in the poisoned heart of the crack epidemic.
Film Review
Kobayashi’s ‘The Human Condition’ Remains Bleak Unrelenting and Unforgettable
Masaki Kobayashi’s nine-hour epic, The Human Condition, is a Sisyphean journey through WWII-era Japan.
The Tragedy of Never Enough in ‘Roadrunner: A Film About Anthony Bourdain’
Morgan Neville’s documentary about celebrity chef and travel writer Anthony Bourdain, Roadrunner, is loving but clear-eyed.
Tribeca 2021: Wladyka’s Thriller ‘Catch the Fair One’ Will Haunt You
Josef Wladyka’s gripping second film shines a light on an epidemic of missing Indigenous women.
Tribeca 2021: ‘India Sweets and Spices’ Offers Familiarity
Geeta Malik’s India Sweets and Spices is peppered with familiarity, from the settings to the snacks, in an enjoyable but incomplete package.
Tribeca 2021: ‘Italian Studies’ Fascinates and Fumbles
Italian Studies, the latest from Gimme the Loot director Adam Leon, is another shaggy tale of listless New Yorkers.
Tribeca 2021: ‘LFG’ Shows the Struggle and Sacrifice in Fight for Equal Pay
Sean Fine and Andrea Nix’s new documentary, LFG, focuses on the women’s national soccer team’s court battle to get paid what they’re worth.
‘The Railway Children’ Shows the World Needn’t Be Beastly
Lionel Jeffries’ film version of Edith Nesbit’s The Railway Children is rich with a charm rooted in a bedrock of social awareness as hard as Charles Dickens.
The Sorrow of a Nation and Sergei Loznitsa’s State Funeral
The Soviet people feel so close in Sergei Loznitsa’s State Funeral, it’s as if you ask via whisper if they ever lost a family member to a show trial or gulag.
Tribeca 2021: ‘Settlers’ Thrills But Blunts Its Message
Wyatt Rockefeller’s sci-fi/western drama about a Martian settlement, Settlers, undercuts its allegory about Western colonization.
Tribeca 2021: ‘No Man of God’ Refuses to Sensationalize Ted Bundy
Based on interviews with Ted Bundy, director Amber Sealey’s drama, No Man of God, questions whether a monster is worthy of absolution.