
‘Lighthouse’ Shines Amidst B-Movie Trappings
At a brisk 60 minutes, Lighthouse gains much mileage out of its limited stretch of soured romance, infidelity, and conjugal drama.

At a brisk 60 minutes, Lighthouse gains much mileage out of its limited stretch of soured romance, infidelity, and conjugal drama.

Jafar Panahi’s Palme d’Or-winning revenge thriller, It Was Just an Accident, slices into memory and the desire for revenge with a double-edged knife.

One Battle After Another‘s sympathetic portrayals of left-wing radicalized groups seems an impossible-to-resist target of the pearl-clutching, but it’s been less of a lightning rod than expected on that front.

Peter Vack’s candy-colored RachelOrmont dares the squeamish to reckon with the schizoid darkness happening on cellphones all around them.

In Claire Denis’ arch and darkly funny film, The Fence, colonialism isn’t history, it’s not even past.

James Sweeney’s Twinless argues that the loneliness of contemporary, late-stage capitalism life is perpetuated by the very things that attempt to remedy it.

Jim Jarmusch’s low-key comedy of awkwardness, Father Mother Sister Brother explores the things we can never know about our families.

In Paul Thomas Anderson’s dark comedy One Battle After Another, the liberationist politics of the 1960s make for a good show and a dead end.

The Devil’s Bride is surely one of the most bizarre films from the Iron Curtain; as hallucinatory as anything this side of Teletubbies.

Streets of Fire boldly rejects conventional genre boundaries, merging action, rock opera, MTV video, and neo-noir into an audacious and stylized urban myth that resonates globally.

Star Trek: Enterprise offers a rare dramatization of a process that is often condensed in fictional universes: the messy, contested, exhilarating journey from tutelage to independence.

In these two political thrillers from Henri Verneuil, neither is above faking out the viewer and both are obsessed with the architecture of the modern city.