Richard Linklater’s “Nouvelle Vague” is a love letter to the French New Wave, Dan Webster says.

Clint Bentley’s “Train Dreams” is a visual meditation on loss, the nature of grief and the healing power of nature, Dan Webster says.

Jafar Panahi’s Palme d’Or-winning “It Was Just an Accident,” now playing at the Magic Lantern, follows one man’s tireless attempts to justify revenge. Nathan Weinbender says it’s a propulsive thriller and a blistering rebuke of the Iranian government.

Jafar Panahi challenges Iran's government with his new film "It Was Just an Accident," Dan Webster says.

In The Mastermind, Josh O’Connor is a 1970s family man who briefly moonlights as an art thief. Nathan Weinbender says this quiet, low-key drama is one of director Kelly Reichardt’s best.

Rebecca Miller’s 5-part Apple TV series “Mr. Scorsese” is an entertaining crash course in the revered director’s work. It may be preaching to the converted, Nathan Weinbender says, but the women in Scorsese’s life offer some fresh insights.

What scares you about on-screen villains may say a lot about you, says Dan Webster.

Director Kathryn Bigelow’s “A House of Dynamite” is an intense post-Cold War thriller—until it’s not, says Dan Webster.

Dwayne Johnson is getting the best reviews of his career playing UFC fighter Mark Kerr in Benny Safdie’s "The Smashing Machine." Nathan Weinbender says the performance is solid, but the movie is sketchy and unsatisfying.

Despite its faults, the feature film “Anemone” boasts an exercise in acting by one of the great screen artists of our time, says Dan Webster.