Mark Asch

Mark Asch Little White Lies Sep 18, 2026 If Miike hardly seems to have hit top speed in this latest tale of garish lighting, Tokyo lowlife and the old ultraviolence, then, well, there’s always tomorrow, and maybe the next lieutenant will be worse. Go to Full Review Bad Lieutenant: Tokyo (2026) 43% - -

Mark Asch Little White Lies Sep 18, 2026 Characterisations are broad, and the bouncy and agreeable tone is not so different from the tone of the stage musical within it; the movie grins its way through tropes so saturated that Eisenberg doesn’t have to explain them, or risk losing anyone. Go to Full Review The Debut (2026) 91% - -

Mark Asch Little White Lies Sep 16, 2026 It shocks and awes the viewer, confusing brute force for real power; its God is an awesome God. Go to Full Review The Last Photograph (2026) 16% - -

Mark Asch Little White Lies Sep 16, 2026 Misty is the moment – to the extent that her director can get out of her way. Go to Full Review Misty Green (2026) 61% - -

Mark Asch Little White Lies Sep 16, 2026 Dragging as it does across its two hours of declamatory dialogue, The Face of Horror also follows Hammer and Corman’s medieval films in being as static as it is stylish. Go to Full Review The Face of Horror (2026) 83% - -

Mark Asch Little White Lies Sep 16, 2026 Its loud insistent allyship can only feel like another tiresome layer of artifice atop a modern-day dating world that’s already more complicated than anyone wants it to be. Go to Full Review Everybody Wants to F*ck Me (2026) 63% - -

Mark Asch Screen Slate Aug 13, 2026 In The Beast (2023), Bertrand Bonello uses James’s parable of love and fear as leaping-off point to explore obstacles to intimacy in the past, present, and future. Go to Full Review The Beast (2023) 86% - -

Mark Asch Screen Slate Aug 13, 2026 Music follows “the dreamed path.” Schanelec holds every shot for exactly as long as it takes for you to realize that it’s beautiful. Go to Full Review Music (2023) 83% - -

Mark Asch Screen Slate Aug 13, 2026 Orlando nevertheless gains much from a big-screen presentation: all the better to appreciate the loving attention paid to faces—variously marked by the acne, braces, peachfuzz—that tell the story of their own becoming. Go to Full Review Orlando, My Political Biography (2023) 94% - -

Mark Asch Little White Lies May 26, 2026 Despite its aridity, Western had a tender heart, eventually exposed through halting conversations between welcoming Bulgarians and the German worker in search of connection. Go to Full Review The Dreamed Adventure (2026) 95% - -

Mark Asch Little White Lies May 20, 2026 it shows off the enduring Japanese respect for the classic English murder mystery, while also allowing Kurosawa to advance its themes with straight-bat dialogue that recalls Masaki Kobayashi at his most didactic. Go to Full Review The Samurai and the Prisoner (2026) 97% - -

Mark Asch Little White Lies May 20, 2026 Each step of the way – the cleaning of the crime scene, the hiding of the body, the disposal of the evidence – Zvyagintsev lets us sit with the scrambling desperation of an amateur murderer until we feel the anxiety rising in our own pulse. Go to Full Review Minotaur (2026) 98% - -

Mark Asch Sight & Sound May 18, 2026 In comparison to the calibrated everyone-has-their-reasons empathy of Koreeda in top form Sheep in the Box feels cloying and obvious. It’s also incredibly dubious. Go to Full Review Sheep in the Box (2026) 43% - -

Mark Asch Little White Lies May 18, 2026 The diary’s final entry is its best, an unadorned and affecting maternal melodrama with geopolitical implications, and a deus ex machina ending punctuated, in the film’s closing, shot, by an ironic wink. Go to Full Review Diary of a Chambermaid (2026) 96% - -

Mark Asch Little White Lies May 13, 2026 The final scene, graced as it is by an apt and hilarious cameo, blesses Butterfly Jam with a dusting of movie magic, and elevates it from the everyday American realm where it struggles to gain purchase. Go to Full Review Butterfly Jam (2026) 46% - -

Mark Asch Sight & Sound Feb 12, 2026 Aiming for timeless elegance, the movie ends up as drab as a traffic jam. Go to Full Review Crime 101 (2026) 88% - -

Mark Asch Sight & Sound Jan 29, 2026 If the film works at all, it’s because Arnett is indeed genuinely relatable, with his husky morning-after voice and a feral bitterness behind his eyes redolent of the accumulated fatigue of male midlife – he’s an adult, in a movie made for them. Go to Full Review Is This Thing On? (2025) 87% - -

Mark Asch Sight & Sound Nov 5, 2025 Assuming the mantle of a 1940s classic proves equally invigorating for Koepp and Soderbergh, who have given themselves interesting problems to solve and their performers sophisticated material to play. Go to Full Review Black Bag (2025) 96% - -

Mark Asch Sight & Sound Nov 4, 2025 The film’s sound design, mixing David Letellier’s dance music score with howling wind, ambient rumble, and the occasional shocking explosion, continues at the same teeth-rattling density throughout its two-hour runtime. Go to Full Review Sirāt (2025) 90% - -

Mark Asch The Atlantic Oct 26, 2025 The film seems interested in the creative process...but largely skips over the unsuccessful full-band recording sessions that convinced Springsteen to release the demos as they were. Go to Full Review Springsteen: Deliver Me from Nowhere (2025) 61% - -