Motor City channels the spirit of the vigilante films and other exploitation genres of the 1970s.
Jarvis discusses the at once tender and menacing shape he gave to his role in the film.
The film makes an impassioned plea to hopeless optimists everywhere, but good luck listening.
The film shows us a different kind of found footage depending on the situation.
Swegal’s feature-length directorial debut is like staring into a national wound.
The film is uncannily expressive, intensely violent, and perversely funny.
The film is a human drama that skirts topicality to ruminate on the nature of truth itself.
The film wrings tension and excitement out of the simple exchange of sensitive information.
Throughout, the film is consistently in conversation with the rom-com genre as a whole.
At least the dragons are a huge point in this largely pointless film’s favor.
The film limply gestures at ideas around women’s rights and athlete boycotts.
The film is most convincing in its depiction of an ongoing struggle to define oneself.
The film is comic yet vicious and cynically bleak in its portraiture of Japan’s silent plague.
Rithy Panh’s film is hard-hitting yet illusive, much like the story its characters are hunting.
Very little about this murkily shot film generates much in the way of thrills or emotion.
The film leads to an outcome that’s both violently chaotic and tragically predictable.
Killer of Killers only gives us just enough to get by, get invested, and get to the goods.
Sans a mythology of its own, Ballerina is just another 87Eleven joint.
Like any number of Exorcist wannabes, David Midell’s film is a special kind of hell.
Byrne’s film is an unsuccessful fusion of creature feature and slasher.
Flanagan’s film doesn’t escape the mires of unpersuasive pop psychology.