Film
‘Free Time’ subverts any semblance of competent adulthood
I would call “Free Time” incompetence porn, but it’s not.
WSN’s guide to the 53rd New Directors/New Films festival
In anticipation of the Lincoln Center and MoMA’s latest edition of ND/NF, WSN has put together a list of the most exciting films on the festival docket.
Review: ‘High & Low: John Galliano’ captures a fashion icon falling apart at the seams
The documentary chronicles fashion designer John Galliano’s career in full, but falters in redeeming his character following incidents of antisemitism.
Review: ‘Do Not Expect Too Much From the End of the World’ is a brilliantly funny portrayal of 21st-century labor
In his new feel-bad comedy, Radu Jude inventively depicts the frenzy of late stage capitalism through an overburdened personal assistant in the film industry.
Inside the Boxd: ‘Maestro,’ ‘The Banshees of Inisherin,’ ‘Valhalla Rising’ and ‘Mulholland Drive’
Inside the Boxd is a weekly column documenting WSN staffers’ recent film reviews on Letterboxd. Grab some popcorn and get that watchlist ready!
Review: Unfortunately, ‘Immaculate’ doesn’t live up to its name
With “Immaculate,” Michael Mohan delivers an imperfect, try-hard horror film that redeems itself by being somewhat fun and occasionally comedic.
Review: ‘Kung Fu Panda 4’ lacks what made its predecessors so charming
DreamWorks Animation’s latest addition to the decade-long series lacks the ingenuity and emotional core of its predecessors.
Q&A: Filmmaker Neo Sora on capturing Ryuichi Sakamoto’s final performance
WSN spoke with director Neo Sora about his latest film “Ryuichi Sakamoto | Opus,” the late musical icon’s last recorded concert.
Review: Netflix’s ‘Avatar: The Last Airbender’ is rough, buddy
The live-action adaptation of “Avatar: The Last Airbender” rarely ever excels as a shot-for-shot remake of the popular cartoon, ultimately frustrating longtime fans of the original.
Review: ‘Love Lies Bleeding’ is a sultry slasher that disappoints
Within the brawn and blood of New Mexico in the ’80s, Rose Glass’ romantic thriller precariously balances romance and violence against a quickly paced plot.
Review: ‘Expats’ stumbles upon modern Hong Kong
The high anticipation for A24 director Lulu Wang’s portrayal of the Asian metropolis doesn’t seem to be given enough air time — but her efforts shine through.
Why Celine Song should win best screenplay at the Oscars
Though it’s worth recognizing the visual and technical merits behind the success of “Past Lives,” Celine Song’s genre-defying screenplay is the star of the film.
