Half-formed expressions of disappointment, hope, struggle, confusion, and boyish playfulness constitute the most memorable moments of Lads & Jockeys.
At best, Force of Nature restates an important message to a wider audience.
The only layers in Silver Tongues are those of bullshit.
As a showcase for Steve Guttenberg’s 52-years-young pecs, A Novel Romance might have been better served as a workout video.
This is a film that’s not so much skeptical of astrology as confused about it.
Not only does The Double’s outdated theme feel out of leftfield, it’s unexplained and without reason.
What’s ironic about The Reunion is that its plot, though it revolves around a kidnapping set in Mexico, seems blind to current events.
Oka! may work best simply as an homage to sound recording.
The closer Happy Life gets to finally finding any joy in the fans of this passé scene, the more depressing it becomes.
The Women on the 6th Floor is a Vicodin pill of a film about a rich stock broker who gets swept up by his Spanish maid’s youth and beauty.
This is a film that’s more interested in the emotions its characters’ seem subordinate to.
The Man Nobody Knew is a character study that doubles as a history lesson.
The Weird World of Blowfly is a year-in-the-life documentary about the original Ol’ Dirty Bastard.
Beware the Gonzo is a dramedy set in the present day that doesn’t seem to know much about the present day.
Stripped Down is most classifiable as art therapy.
As a horror movie that feels more like a mumblecore drama that a serial killer passes through, it’s deaf to its own shifting tones.
This isn’t so much a document of a certain group of people’s lives, but a political tool, Democratic through-and-through.
Girlfriend is surprisingly backward not only in the story that entangles its main character, but also in its characterization of women.
There’s a preciseness and polish to the way the characters are played in Rapt that makes the film resemble an expensive chess set.
Dark Days feels like it surreptitiously removed another barrier to more direct relations between those behind and in front of the camera.