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“Valley of Souls” is a slow burn with three w’s. Director Nicolás Rincón Gille’s narrative debut, part of the 2020 Flashback series, liquefies with a languid pace that melts in your mouth.
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Khosrovani’s most magical suspense lies in the first half of her film. That might be a consequence of history, a result of the two different stories she’s telling.
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As “Shiva Baby” unfolds, it bends over its own genre, churning out a feature-length anxiety attack that also happens to be really, really funny.
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Turning the ordinary lives of farm animals into a searing argument, this experimental, entirely observational documentary is preoccupied with abuse and enamor, consumption and empathy.
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“(Animating) in the animation industry or production means you are giving life to the character you are performing, you are acting the character out,” Oh said.
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There’s something reassuring about a film that presents life straightforward. “The Knot,” despite its underwhelming, mediocre storytelling, captures that essence.
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Shots of Kris’ piano pedaling cleverly overlap with images of Horace pressing dry-cleaning pedals, drawing a clear connection between the past and present.
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Where “WandaVision” took full advantage of its TV format, “The Falcon and the Winter Soldier” has a more uneasy relationship with the medium, reading mostly as an extended “Captain America” movie.
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A stunning compilation of visual effects, “Godzilla vs. Kong” should be regarded as a work of art.
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Aboard its own gilded vehicle, “French Exit” departs a potholed highway for a bland desert road, the drab stillness of which is interrupted by the lively shadows of Pfeiffer’s performance.
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