Halloween by Keith Uhlich 1.5 There’s barely a single scare in David Gordon Green’s Halloween that isn’t undermined by some forced bit of funniness.
Can You Ever Forgive Me? 2.5 by Jake Cole The rapport between Richard E. Grant and Melissa McCarthy offers deeper pleasures than the main plot of Can You Ever Forgive Me?
The Guilty 3.0 by Keith Watson The Guilty is a taut chamber thriller dominated by Jakob Cedergren's flinty yet highly emotive visage.
Wildlife 3.0 by Greg Cwik Wildlife is at once loquacious and laconic, a film in which simple words hold unspoken and unequivocal power.
Mid90s 1.5 by Jake Cole Jonah Hill’s feature-length directorial debut, Mid90s, is a repository of contemporary indie trends.
Richard E. Grant on Bringing Friendship to Life in Can You Ever Forgive Me? by Marshall Shaffer Grant discusses portraying persons who have good and bad in them.Read More
Melissa McCarthy on Lying to Achieve Truth in Can You Ever Forgive Me? by Marshall Shaffer McCarthy discusses how her process changed to play a real person.Read More
Wings of Desire by Bill Weber The grand theme of Wim Wenders's film is storytelling in all its forms as a coping mechanism of the human race.
On Her Shoulders by Derek Smith The film homes in on the ways Nadia Murad's fragility and self-doubt arise as collateral damage from her fame and steadfast activism.
The Waldheim Waltz by Pat Brown The film gradually builds outrage at the subterranean persistence of fascism in postwar politics.
Caniba by Peter Goldberg Throughout Caniba, there's a singularly disquieting relationship between the filmmakers' formal experimentation and their subject.
An Evening with Beverly Luff Linn by Chuck Bowen Jim Hosking's film is one of those absurdist boutique comedies that pushes against the definition of a punchline.
Galveston by Keith Watson The film is a slow, directionless anti-thriller that never manages to build tension or establish any stakes.
Bad Times at the El Royale by Derek Smith Bad Times at the El Royale begins as a cheeky chamber drama before morphing into an expectation-busting blend of noir and pitch-black comedy.
First Man by Paul O'Callaghan The intimate epic First Man is preoccupied above all else with penetrating Neil Armstrong’s psyche.
Beautiful Boy by Keith Uhlich A few too many on-the-nose needle drops make Beautiful Boy play like a schmaltz-infused music-video-cum-alarmist-anti-drug-PSA.
The Oath by Peter Goldberg The Oath seems to say that the worst part of a full-fledged American dystopia would be the ruined holiday dinners.
