Film-Forward

There could possibly be no more fitting option to end the 63rd New York Film Festival than with the selection of a New York–set romantic comedy with gravitas.

A bold and remarkably assured feature directorial debut plays out mostly like a fizzy—albeit sexually explicit—romantic comedy, with deep dramatic undertones.

Another in Kelly Reichardt’s canon of deceptively modest stories of ordinary people set within a specific place and time.

Director Park Chan-wook takes as his blueprint Donald E Westlake’s lean and mean bloodbath The Ax (1997) and makes the macabre and cynical tale his own.

This is not easy viewing, but it is informative, impressive, and horrifying.

A bruising portrait of a man living on the margins of society.

The standouts here are its neon-lit fights, digital worlds, and the moody score by Nine Inch Nails.

The musical gives Jennifer Lopez a chance to unleash all her superstar powers—both musical and cinematic.

The film wouldn’t work nearly as well without Channing Tatum and Kirsten Dunst and their palpable chemistry.