Due to the one-minded construction of the documentary, there’s little to parse beyond impassioned harrumphs.
Keith Miller’s Welcome to Pine Hill is much more successful in its depiction of milieu than dialectics.
Romantic idealism and environmental psychology become enmeshed, and indistinguishable, in the intimate Nights with Theodore.
Red Flag is far too preoccupied with using comedy to defang truths rather than inform them.
The Jeffrey Dahmer Files unfolds with the same meticulousness exemplified by the eponymous serial killer.
In its attempts to avoid overstating the obvious, Lore repeats the oblique.
Bill Guttentag presents an inept spoof on the election process for audiences who mistake fast talking for sharpness.
Fairhaven at least resists the emotional bombast of films such as The Big Chill.
It’s refreshing to experience a Pixar film in the theater with a head and heart full of nostalgia instead of expectations.
Sporting a Southern-fried accent, Tatum O’Neal expresses her character’s inner turmoil through a crass, audience-bombarding collection of hyper-mannered tics.
José Henrique Fonseca appears to be a follower of that school of confused chronology responsible for films such as La Vie en Rose.
David Giancola simply pursues how he felt as the buzz surrounding Illegal Aliens rose and fell in tandem with the media’s coverage of Anna Nicole Smith’s court battles and death.
With Beware of Mr. Baker, Jay Bulger is able to wrangle and weave a piquant tapestry of a life made of disparate threads.
Hitler’s Children looks at the present in order to redefine the evil epoch of the past.
These are two very different films about the avenues through which individuals feel fulfilled, or alienated, by those they consider close comrades.
A Late Quartet jettisons character plausibility in favor of pop psychology and leaden instrument analogies.
What Sexy Baby lacks in the way of sophisticated filmmaking it compensates for with an earnest insistence on open dialogue.
The film is an embarrassing girls-behaving-badly indie romp you’d expect a group of friends to write after an all-you-can-drink brunch.
Taking a cue from the Wally Pfister Academy of Gloomy Cinematography, Sinister is a film about shadows.
The film would be an intriguing depiction of personal and political disillusionment if its conceit wasn’t so transparent and lopsided.