Two halves form a harmonious whole in Feast of the Epiphany, the new feature from Reverse Shot editors Michael Koresky and Jeff Reichert and longtime RS staff writer Farihah Zaman. Feast will make its world premiere at BAMcinemaFest 2018. Tickets are available now!

By Chloe Lizotte | June 8, 2018

Writer/director Jim McKay’s fifth feature, and his first since 2005’s Angel Rodriguez, is his most tightly plotted film yet, propelled by a momentum that’s often exhilaratingly fleet. Yet his emphasis on his characters’ everyday stakes keeps the film from feeling lightweight.

By Nick Pinkerton | May 18, 2018

A very good actor who has in recent years grown into a great one, Hawke gives an extraordinarily controlled performance as a man struggling mightily to retain dominion over himself.

By Demitra Kampakis | May 16, 2018

We are becoming numb, and nothing can shock or affect us anymore. So how do you make an erotic scene that allows us to feel again, to feel the pain, the beauty, the urgency, the desperation, and the deep, animalistic but also spiritual connection between these two women?

By Nick Pinkerton | May 11, 2018

If Hong is indeed the best that we have got, there is something troubling about this fact. For it should detract nothing from the integrity of his body of work to say that, when taken altogether, it is a quintessential expression of a cinema of disappointment and diminished expectations.


What of art then? Is its thrill ever about aesthetics alone? This question is just one of many raised by Barbara Visser’s smart, approachable, and entertaining documentary The End of Fear.

By Adam Nayman | May 3, 2018

Even the most resourceful, imaginative filmmaker would be hard-pressed to redeem the screenplay, specifically the lengths to which Cody goes to disguise the true nature of the story, and also the underlying reasons for the charade, which are unconvincing and in bad faith.

By Fanta Sylla | April 25, 2018

A known cinephile and still working film critic with an affinity for polemics (he has a monthly column in So Film), Serge Bozon has had a slow rise to the mainstream without cynical compromise. Whether one loves or hates his films, their existence signals a continuing diversity in French cinema.

By Nick Pinkerton | April 24, 2018

That Denis can produce a work that, without a trace of preciousness, is equal parts indebted to Barthes and Chicago blues, connected as arm is to shoulder to the film-historical legacy of post-New Wave French filmmaking, is only further justification for claim that the 71-year-old is the greatest working director over the last two decades.

By Kelley Dong | April 13, 2018

Though it bears the markings of a gut-wrenching horror film, A Quiet Place is stubbornly optimistic about the existing order.

review, interview
By Devika Girish | April 12, 2018

“It is a time when this country is under a lot of criticism, rightly so, and I have found my place in portraying certain things, but showing them to you in a way that you get to make your own judgment. And so far, I have been very moved that people want to see the good of this country.”

review, feature
By Josh Cabrita | April 12, 2018
At the Museum

Gibson shows that filmmaking is an extension of a practice that is already proactive and lived. The evolving relationship between filmmaker and subject is retained implicitly in nearly every shot and interaction.

By Adam Nayman | April 11, 2018

If one of the principal powers and pleasures of cinema is its ability to momentarily suspend thoughts or cares about what lies outside the frame, then Zama can be taken an object lesson in manipulation. Every strenuously controlled moment and movement constitutes an irresistible entreaty to simply go blank and watch.

By Ela Bittencourt | April 6, 2018

"It was about creating this open space and stretching it as far as possible, moving step by step, adding new elements one by one. At one point, it became inevitable that the making of the film itself should come into view."

By Matthew Eng | April 5, 2018

Charlie is seeking both shelter and solace, but also a simple yet elusive thing: connection. This aligns him with all of the protagonists that writer-director Haigh has brought to the screen in a career that feels increasingly major with each new project.