Review: The Bronze

The prevailing attitude behind Bryan Buckley’s film can be boiled down to a simplistic idea: the cruder, the better.

Review: Gods of Egypt

The film’s virtues as throwback don’t elide the foolhardly decision to imprint an ancient mythology on a contemporary superhero framework.

Review: Regression

It spends a lot of time considering the fear of knowing, which may explain why Alejandro Amenábar didn’t seem to know what

Review: Shelter

The characters’ homelessness is less indicative of a real-life epidemic and more akin to window dressing.

Review: Get Hard

The filmmakers stand out of Will Ferrell and Kevin Hart’s way, but they refuse to modulate the story’s racial humor with any

Review: The Fool

It takes place entirely at night, and the dingy color palette, washed-out and intentionally drab, presents Russia as an almost alien landscape.

Review: Ejecta

The character study nestled inside all the bombast remains crafty for its commingling of artful storytelling and genre nonsensicality.

Review: Supremacy

It isn’t long before we feel like hostages ourselves, bound by the filmmakers’ strained moral outrage.

Review: The Wedding Ringer

This big, brash, occasionally clever, but mostly dumb comedy is so derivative that it feels like playing a game of basic-cable bingo.

Review: Hangar 10

It’s easy to see how Daniel Simpson’s desire to return the found-footage genre to its roots resulted in cheap imitation.

Review: Reclaim

Reclaim’s highly mechanized plot ensures that the film is over before it even ends.

Review: Last Weekend

The filmmakers’ inquiry-free recipe for disaster is to idealize everyone’s unchecked narcissism and idle privilege.

Review: Kink

More than just a thorough examination of hardcore pornography, Christina Voros’s doc is also a sort of chronicle of the filmmaking process.

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