“Backrooms,” “Obsession,” and Hollywood’s Zoomer-Horror Renaissance
Kane Parsons’s début, starring Chiwetel Ejiofor and Renate Reinsve, doesn’t quite cohere—but Curry Barker’s takes a familiar premise to a…
The Current Cinema
admin “Power Ballad,” Reviewed: A Bromantic Conflict Over a Hit Song
Richard Brody reviews John Carney’s dramedy, in which a thwarted songwriter, played by Paul Rudd, crosses paths with a former…
All the Films in Competition at Cannes 2026, Ranked from Best to Worst
It wasn’t a banner year for the world’s most important film festival, but there were gems among the twenty-two films…
The Kids Are Not All Right at Cannes
In his second dispatch from the film festival, Justin Chang considers premières from Marine Atlan, Jordan Firstman, and Cristian Mungiu…
“I Love Boosters,” Reviewed: A Socialist-Surrealist Shoplifting Fantasy
Boots Riley’s new film is an exuberantly inventive but overstretched comedy about the redistribution of luxury goods, Richard Brody writes.
All of a Sudden, the Glories of Cannes Are Upon Us
Justin Chang writes about the first week of the 2026 Cannes Film Festival, which unveiled standout new works by James…