At the beginning of “Made in England: The Films of Powell & Pressburger,” Martin Scorsese recounts how he first encountered the works of the legendary filmmaking duo of Michael Powell and Emeric Pressburger as a child under perhaps the worst conditions imaginable on his family’s black-and-white television in substandard and edited prints that made hash […]
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Produced by The New York Times‘s video division, and depending heavily on its own reporting, “Sorry/Not Sorry” is a primer on the rise, fall and reinvention of Louis C.K. A respected standup comic who remade himself as a low-budget arthouse confessional filmmaker, he became the writer, director, producer and lead actor of the semi-autobiographical FX
Let’s get one obvious thing out of the way: Yes, it hasn’t been that long since we’ve had a feature film on the Empress Elisabeth of Austria, commonly known to public as Sisi. That film was Marie Kreutzer’s “Corsage” (2022), starring a stiff-lipped and often (aptly) unsmiling Vicky Krieps as the much-tormented 19th-Century royal. A
“Touch,” from Icelandic director Baltasar Kormákur, is vast in scope, stretching over decades, languages, continents, and cultures, with themes of memory, aging, loss, and love. But its sensibility is as exquisitely tender as the flutter of a butterfly wing. Kristófer (Egill Ólafsson) is an elderly widower and restaurant owner in Iceland who visits his doctor
“Fly Me to the Moon” lurches wildly from zippy, retro rom-com to cynical political satire to weighty, remorseful drama and back again. Tonally messy and overlong, director Greg Berlanti’s film ultimately squanders the considerable charms of its A-list stars, Scarlett Johansson and Channing Tatum, who are individually appealing but have zero chemistry with each other.
Everything about Osgood Perkins’ “Longlegs” is designed to rattle you, unsettle you, and make you think about it hours or even days later. It’s a very purposefully exaggerated film, from the oppressive sound design to the heavily mannered performances, going for something closer to a cinematic nightmare than anything approaching realism. To that end, despite
Ben (Grant Rosenmeyer) is not okay. His wife and artistic collaborator Sarah (Reina Hardesty) died suddenly, leaving him in a state of shock. He forgets to eat, he forgets to sleep. Stuck in a neverending stupor, he forgets to take care of himself. When his concerned sister Gloria (Lucy DeVito) and her husband Tom (Nican
Writer-director Monia Chokri’s “The Nature of Love,” is a two-hour foray into longing, self-searching, and passion. Sophia (a magnetic Magalie Lépine Blondeau), is a philosophy professor who is stably, but stagnantly in-like with her wealthy partner of 10 years, Xavier (Francis-William Rhéaume). When they decide to rehab their old summer chateau, Sophie goes to meet
The high-concept South Korean army thriller “Escape” clocks in at a swift 94 minutes long. It could have easily gone on longer. There’s simultaneously too much and not enough action in this intriguing, but underdeveloped story about a North Korean defector who, after ten years of military service, flees to South Korea. He’s pursued by
From the moment Dave (Ewan McGregor) frantically walks across a deserted parking lot, “Mother, Couch” feels empty. Dressed in a black suit, Dave walks toward a furniture store filled with vintage, handcrafted pieces. At the front desk is the bubbly Bella (Taylor Russell), whose father Marcus and Uncle Marco (both played by F Murray Abraham)
