Eichmann could be just another bland program you flip through on the way to the History Channel as you crack open your third beer.
Punching the Clown is another film with a protagonist desperate to make a living in the entertainment industry.
The company behind The Two Escobars is ESPN Films, and the influence, coincidentally or not, is tangible.
Bitter Feast is bitter indeed.
Budrus is passionately, more-than-competently made, but it’s a civics lesson that doesn’t quite shake you to your core.
Frozen is a ludicrous, uneven horror film that still successfully puts the screws to the audience.
J.T. Petty doesn’t trust this material enough, as he shoehorns interviews with real professionals to bolster the documentary gimmick.
The title of this collection of short films prompts you, or it prompted me, for a series of anecdotes that would cumulatively conjure that iconic ideal image of global unity.
A beautiful, fitfully successful film with another compelling Casey Affleck performance.
The awkward title pretty much covers it.
Sequestro doesn’t contort its material to fit a conveniently encouraging mold.
Make-Out with Violence is a horror movie given the generic low-budget art-movie treatment.
Ari Taub’s Last Letters from Monte Rosa is well-meaning nonsense.
The Nature of Existence was bound to fall short of its deliberately and ridiculously broad title.
Burzynski is the kind of should’ve-been-important picture that you damn with the faintest praise: It means well.
Little details begin to accumulate, and you begin to suspect that the Safdies might (partially) know what they’re up to.
The poignancy of The Lightkeepers is ultimately unintentional.
Ocean of Pearls is, underneath the gross sentimentality, racist and shameless, and it might be dangerous if it weren’t so forgettable and on-the-nose.
Another forgettable sequel to a surprisingly successful horror picture.
One of those intentionally divisive pictures with which you probably already know your reaction.