La Cocina uses its kitchen-setting as a springboard for a grand Statement on America. But it ruins the main dish by adding too many flavours.
Too Many Cooks Spoil La Cocina

Exploring the Outer Edge of Film
La Cocina uses its kitchen-setting as a springboard for a grand Statement on America. But it ruins the main dish by adding too many flavours.
Using an Unreal Game Engine to bold and unsettling effect, Ishan Shukla’s Schirkoa: In Lies We Trust is a truly unique and strange sci-fi vision.
Cristi Puiu’s MMXX revisits the year he whipped up a bunch of coronavirus controversy with a typically austere anthology that lacks the smarts of his best work.
The perils of being a vampire in a regular-old world are subtly investigated in For Night Will Come — beating away clichés before eventually succumbing to them.
Indian movie Stolen levels up scene after scene, moving from a tense, whodunnit to a full-blown, white-knuckle thriller — live from Venice Film Festival.
A stoner comedy without the comedy; an arthouse drama without the art; a deep dive into social ills without going too deep; Critical Zone is inessential.
Love fights the forces of economics and corruption in the underwhelming Iranian drama Empty Nets — live from Karlovy Vary Film Festival.
The (Ex)perience of Love, playing in Critics’ Week, is a silly movie. But its fantasy premise is treated with smarts and sensitivity, making for a fun watch.
Paul Schrader finds a more tender angle on his tried-and-tested formula in the touching Master Gardener, completing his most recent trilogy.
The Berlinale 2023 opens with a trip aboard the tugboat of love. There is no need to get on. Here’s our take on Rebecca Miller’s She Came To Me.