Blindspotting by Derek Smith 2.0 Blindspotting takes aim at myriad targets and bluntly satirizing them in disparate styles that never mesh into a cohesive whole.
Unfriended: Dark Web 3.0 by Henry Stewart Unfriended: Dark Web is preposterously conceived, but writer-director Stephen Susco so tightly, excitingly executes it that you hardly notice.
The Third Murder 3.0 by Chuck Bowen Aiming for Dickensian irony, Hirokazu Kore-eda fashions an intriguingly obsessive yet belabored riff on the murder mystery.
McQueen 3.0 by Diego Semerene The documentary McQueen suggests that Alexander McQueen always designed as a matter of survival, if not reparation.
Damascus Cover 1.5 by Derek Smith Daniel Zelik Berk's film trots out murky plot twists that leave crucial details needlessly shrouded in mystery.
Rob Reiner on Shock and Awe and the Pursuit of Truth by Elise Nakhnikian Reiner discusses the surprising new urgency that his new film took on after the 2016 election.Read More
Bo Burnham on Treating Eighth Grade Like a War Movie by Marshall Shaffer Burnham discusses how his film is an extension of his comedy work.Read More
Eighth Grade by Niles Schwartz Underlying many of Eighth Grade's scenes is a strain of eeriness, as if the Bo Burnham film were offering up a post-human spin on Pretty in Pink.
Skyscraper by Eric Henderson Skyscraper is little more than a faster-higher-stronger amalgamation of Die Hard and The Towering Inferno.
Don’t Worry, He Won’t Get Far on Foot by Steve Macfarlane Don’t Worry, He Won’t Get Far on Foot is unafraid of showing the gruesome details of alcoholism and denial to back up its bromides.
Hotel Transylvania 3 by Derek Smith By the end of the film, it’s clear that the most merciful act for the series may be a stake through the heart.
Shock and Awe by Derek Smith Rob Reiner’s film rests on broad, sweeping proclamations about the importance of factual reporting.
Milford Graves Full Mantis by Chuck Bowen Jake Meginsky’s documentary is insular, precious, and too pleased with its unwillingness to reach out to the unconverted.
What Will People Say by Derek Smith The film flirts with miserablism, but it counterbalances the direness of Nisha’s situation with moments of levity.
Dark Money by Keith Watson Kimberly Reed’s approach is too bloodless to make us feel the full weight of the injustices her film identifies.
Night Eats the World by Chuck Bowen Dominique Rocher reinvigorates the zombie film only to succumb to the strictures of the coming-of-age romance.
Gauguin: Voyage to Tahiti by Pat Brown The film is less concerned with placing Gauguin in his historical context than it is with his emotional tribulations.
