Exceptional, noteworthy and entertaining new films — and where to watch them. Every week.

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Immaculate

“Sydney Sweeney grounds the escalating fire-and-brimstone daftness of Immaculate in something like emotional credibility — just enough to keep us gripped, but never so earnestly as to spoil the bloody, blasphemous fun.”

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Monster

“It’s Kore-eda’s first film in nearly 30 years that he hasn’t written, and a new voice in his work isn’t unwelcome: Yuji Sakamoto’s script is just tender enough but still impressively tough-minded, wary of the sentimentality that this director sometimes can’t resist.”

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Inside the Yellow Cocoon Shell

“Ten months after I saw it, images from Pham’s film (some misted, some bejewelled, all exquisite) reel through my brain when I least expect them; its characters’ stories and explorations continue to nag at me.”

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Showing Up

“The stakes might sound low, but that’s Reichardt’s way: her films tend to be about the small moments and gestures that pave the way for greater revelations.”

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The Iron Claw

“I expected The Iron Claw to go full American gothic in its horrific exploration of violent patriarchy and clotted, red-blooded masculinity — a mythos that curdles into an apparent curse. What Durkin gives us is more earnest, at times even more sentimental, than that.”

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The Zone of Interest

The Zone of Interest doesn’t have to humanise the Nazis at its centre — they’re already human. It’s easier and more comforting to believe that they weren’t; faced with any easy or comforting option, Glazer’s film firmly takes the opposite one.”

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All of Us Strangers

“All of Us Strangers is a special kind of ghost story: one less interested in the supernatural considerations of life after death than in how the uncanny puts the everyday in focus.”

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The End We Start From

“What it does capture, with a simplicity and emotional directness that gradually made me shiver, is the individual’s sense of abandonment and desolation amid a global disaster with little room for small-scale grief and grievances.”

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Poor Things

“A 19th-century culture shock is very much present and correct in Lanthimos’ vision for Poor Things. Emma Stone’s Bella analyses, makes decisions, has agency, imagination, desire, willpower, and, above all, perspective.”

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Priscilla

“Coppola’s adaptation of Priscilla Presley’s marriage memoir emerges not as a standard biopic, but as a kind of Gothic fairy tale, with Priscilla as a Vegas-Victorian child bride, hunched and chilly in a pastel castle of rhinestones and deep-pile carpeting.”

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In Bed With Victoria

“Triet’s script keeps challenging the character, piling on complications and absurdities with loose abandon, but never humiliates her in the way Hollywood tends to trip up its klutzy romcom heroines.”

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Anselm

“In shooting Kiefer’s imposing, landscape-like canvases of mixed organic media, Wenders and his regular cinematographer Franz Lustig aim to shrink the equivalent distance between seeing a painting in a gallery and buying a print of it in the gift shop.”

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The Eternal Daughter

“When mother and daughter are together, their conversations proceed with the halting, disjointed rhythm of two lives half-lost to each other — and it’s in probing this out-of-time stillness and sadness that Hogg is in her sweet spot”

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May December

“Can you style out a whole misjudged life? Equally fair to all three principals (which is to say, sometimes, uniformly savage), May December plays out in a register of ultra-arch camp that nods to the soap-operatics of the whole premise.“

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Anatomy of a Fall

“Deliberate and elegant in form, but with a fast heartbeat under its serenity, Anatomy of a Fall gives its audience plenty of space to breathe and gaze and ponder matters less immediate than simply whodunnit — though you may be arguing with yourself over that, too, for days to come.”

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The Royal Hotel

“Green and Oscar Redding’s script is an artful Rorschach test. How much terror and tension you find in it may depend on your own social biases and personal experiences — and, frankly, how much thought you give to the threat of male presence in your day-to-day existence.”

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Peeping Tom

“You freeze and hold your breath with the film as it pulls back the curtain on realities nobody really wanted to admit or address in the cinema on a Saturday night; you fear not just for the women on screen, but for your fellow viewers, then and now.”

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Killers of the Flower Moon

“Those teeth! Oh my. Off-white, wonky, stained, with something of the weasel about them, these are the teeth of a grifter, the teeth of a weak man, second-rate teeth, teeth whose owner is incapable of real love.”

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Taylor Swift: The Eras Tour

The Eras Tour — featuring concert footage, concert footage, more concert footage and nothing but concert footage — is a massive, somewhat overwhelming testament to Swift’s glistening, unrelenting professionalism as a performer.”

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Saw X

“The new Saw movie is the best one in ages, and if you like that kind of thing, feel free to go get your rocks off with pride, ignoring any boring prudes judging your kinks or shaming your proud torture porn positivity”

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