The Safdie Brothers' nervy ball of tension, #PMPick Uncut Gems, sends a hustler blasting recklessly through a city where everybody is on the make.
In Robert Eggers' brutal but lyrical 19th century horror show, The Lighthouse, there is a lot of David Lynch in the looming soundtrack and the steam-powered, proto-industrial feel in the scenes of tending the lighthouse machinery.
Director Ari Aster's uncompromising artistic vision in Midsommar creates a singular viewing experience of horror, beauty, and bafflement.
Joe Talbot and Jimmie Fails talk about their tribute to the old San Francisco -- before tech moved in -- in their moving feature debut, The Last Black Man in San Francisco.
High Life is more a series of tensions and breaking points than it is a traditionally satisfying space narrative, but Denis's allegiance to directors like Tarkovsky and Kubrick offers an intriguing view of humanity at the gates of the final frontier.
For those curious about what awaits them on the other side of youth, writer-director Sebastián Lelio's indie drama Gloria Bell offers an unflinching glimpse at some unforgiving terrain.
Sebastián Lelio's fascination with womanhood and desire have culminated in Gloria Bell, with actor Julianne Moore tailor-made to its particular kind of searching melancholy.
Rather than moralize, critique, or make grandiose statements about "digital natives", writer-director-wunderkind Bo Burnham brilliantly visualizes what it means to live in a world in which social media is omnipresent.
Bo Burnham's big-hearted, emotional tidal wave of a movie shows how the look-at-me / leave-me-alone contradictions of adolescence, powered by social media, are cranked up to 11.