4Columns

Melissa Anderson 4Columns Jun 26, 2026 Like the most memorable sexual experiences, Drunken Noodles continuously surprises and delights. Go to Full Review Drunken Noodles (2025) 100% - -

Andrew Chan 4Columns Jun 23, 2026 It’s no crime to play fast and loose with logic in a sci-fi movie. But several of Disclosure Day’s more preposterous ideas feel like shortcuts rather than flights of unfettered imagination. Go to Full Review Disclosure Day (2026) 79% - -

Melissa Anderson 4Columns Jun 12, 2026 Early’s talent for blending ostensibly clashing moods and styles...is exemplified by the appealing incongruity of the main character herself. Go to Full Review Maddie's Secret (2025) 85% - -

Harmony Holiday 4Columns May 29, 2026 The biopic is an inherently imperious and extractive genre that mostly fails to deliver plots worthy of their subjects. This one leans into that ritual of gaudy shorthand, crisis-proofing itself in advance. Go to Full Review Michael (2025) 38% - -

Melissa Anderson 4Columns May 22, 2026 Lina’s meeting with Amalia typifies the most successful moments of The Currents: episodes that provocatively raise questions rather than answer them, that parcel out just enough backstory so that the viewer can imagine Lina’s past... Go to Full Review The Currents (2025) 94% - -

Sukhdev Sandhu 4Columns May 8, 2026 The Misconceived, no antidote at all, is a would-be dunciad that’s airless, at heart humorless, wholly self-adoring. A film that can’t see the trees for the forest. Go to Full Review The Misconceived (2026) - - - -

Leo Goldsmith 4Columns May 1, 2026 As nonfiction, Our Land at first seems like a very different kind of film, and yet it is still greatly concerned with the limitations of perspective, as well as the forms and technologies that capture and make its events legible as images. Go to Full Review Our Land (2025) 98% - -

Michelle Orange 4Columns Apr 20, 2026 For better and worse, Romvari relies on the pressurizing force that her family’s losses add to this work. Go to Full Review Blue Heron (2025) 97% - -

Melissa Anderson 4Columns Apr 3, 2026 With his Lear-like dudgeon, McKellen clearly relishes the outrageous lines written for him. Coel, a model of Gen Y impatience with geezer entitlement, nicely demonstrates the fortitude required to repel such gale-force verbiage. Go to Full Review The Christophers (2025) 95% - -

Melissa Anderson 4Columns Mar 20, 2026 Despite its focus on the domestic, Miroirs No. 3 never feels small. The ghosts and fragments of the past (not least those evoking Petzold’s earlier movies) that drift through the film give it a curious grandeur. Go to Full Review Miroirs No. 3 (2025) 95% - -

Johanna Fateman 4Columns Mar 13, 2026 ...monsters, rape-revenge, a nineteenth-century woman writer—I really mean it when I say that I would absolutely love this movie if everything about it were different. Go to Full Review The Bride! (2026) 57% - -

Melissa Anderson 4Columns Mar 10, 2026 The bracing causticity of Debré’s self-reckoning has been diluted and devitalized in Cambet’s version, in which the author’s avatar is rendered as a rosy-cheeked, innocuous seducer. Go to Full Review Love Me Tender (2025) 93% - -

Melissa Anderson 4Columns Mar 10, 2026 Often [Nadia Melliti's] untutored acting style felicitously highlights the fragility of Fatima’s butch, tomboyish bravado; at other times, Melliti’s lack of acting experience simply translates as awkward stiffness before the camera. Go to Full Review The Little Sister (2025) 86% - -

Melissa Anderson 4Columns Feb 27, 2026 Satyajit Ray’s seriocomic delight Days and Nights in the Forest sharply demonstrates that even when getting away from it all, you can never escape your own hopelessly wretched self. Go to Full Review Days and Nights in the Forest (1970) 100% 97%

Jarrett Earnest 4Columns Feb 20, 2026 Fennell’s film, like Balthus’s drawings and paintings, is a deeply personal wish fulfillment, and an exercise in wanting to be publicly seen within and through this novel. Go to Full Review Wuthering Heights (2026) 57% - -

Erika Balsom 4Columns Feb 7, 2026 Brooks’s film weighs the promises of emancipation against the persistence of heterosexual norms and delivers a crushing verdict. Go to Full Review Looking for Mr. Goodbar (1977) 67% 74%

Melissa Anderson 4Columns Feb 3, 2026 Pillion plays like a sub/dom rom-com, wearily plotted in such a way that callow Colin, by the end, knows exactly what he wants, filling in the “About Me” prompt in a dating app with nonnegotiable specifics. Go to Full Review Pillion (2025) 99% - -

Melissa Anderson 4Columns Jan 23, 2026 [Joan Crawford's] acting is at once immoderate and fiercely controlled; her face, as stylized and exaggerated as a Kabuki mask, still conveys a vast repertoire of intricate moods and responses. Burt’s descent into madness chills. Go to Full Review Autumn Leaves (1956) 90% 63%

Beatrice Loayza 4Columns Jan 16, 2026 ...A Private Life has a title suitably generic for the filmmaker’s latest trip through the female psyche. But for a director whose classy realism can often feel like art-house vanilla, the movie unfolds with a much-warranted wink and a nudge. Go to Full Review A Private Life (2025) 82% - -

Nathan Lee 4Columns Jan 9, 2026 If depiction does not equal endorsement, neither does restaging atrocity constitute critique. The fussy formalism of Magellan made me want to jump ship. Go to Full Review Magellan (2025) 90% - -