Contributed by Jonathan Stevenson / Like an opaque work of conceptual art, writer-director Paul Schrader�s First Reformed is a high-risk venture, laden with the potential for […]

Contributed by Jonathan Stevenson / In Let the Sunshine In (an awkward translation of the original title, Un Beau Soleil Interieur), French director Claire Denis� […]

Contributed by Jonathan Stevenson / Two current movies about Russia, both gloriously snide but in different ways, open with discrete artistic performances. In Armando Iannucci�s […]

Contributed by Jonathan Stevenson / In the brilliantly obtuse Phantom Thread, a paradoxically epic chamber piece, Paul Thomas Anderson explores the way in which romantic […]

Contributed by Jonathan Stevenson / Cult film auteur Guillermo del Toro, director and co-writer of the triumphant The Shape of Water, sees 1962, in which […]

Contributed by Jonathan Stevenson / During the pre-Mad Men golden age of roadside America, advertising billboards set a tone of warm and friendly commercialism. Perhaps […]

Contributed by Jonathan Stevenson / The art world and the bourgeoisie are taking a cinematic beating this year. Noah Baumbach’s The Meyerowitz Stories (New and […]

Contributed by Jonathan Stevenson / The Meyerowitz Stories (New and Selected) is arguably Noah Baumbach’s best movie since The Squid and the Whale, and seems sure to […]

Contributed by Jonathan Stevenson / Albert Oehlen is perhaps foremost among visual artists seeking to capture the jangled frenzy of the Internet Age, having done […]

Contributed by Jonathan Stevenson / Columbus is a serenely penetrating postmodern film, acted with realistic understatement and set in the eponymous city in Indiana — […]

Contributed by Jonathan Stevenson / William Faulkner famously said, “The past is never dead. It’s not even past.” That is a key truth about one […]

Contributed by Jonathan Stevenson / In his paradoxically granular war epic Dunkirk, Christopher Nolan assumes viewers know that the British Army’s 1940 strategic retreat from […]