"Maybe I don’t want to meet someone who shares my interests. I hate my interests." Steve Buscemi speaks for us all.
In the film’s best scenes, Jeff Grace displays a delicate understanding of various modes of male fragility.
The film evenly distributes its action in quick bursts of fluidly animated fight choreography.
Bobcat Goldthwait’s hand too nervously tempers Barry Crimmins’s outré tactics as kooky showmanship bred from unimaginable trauma.
Whatever your foreknowledge of low-budget Brooklyn dramedies, it’s impossible that Gillian Robespierre’s film won’t lob you at least a few curveballs.
The comedian-filmmakers broach the doc’s central subject with crass and offensive standup routines that wouldn’t be out of place on the Blue Collar Comedy Tour.
An overmatched star and a scarcity of eccentricity sink this hip-lit origin story from director John Krokidas.
Transformation is a major theme at the heart of the new season, and this looks and feels like a different show.
The film flirts with big ideas about adult relationships, but fails to locate any gravitas about its characters’ existential or psychological crises.
This is “the Al Pacino Dunkin’ Donuts commercial in Jack and Jill” as an actual movie.
The story is so paper-thin one surmises it was scrawled on soggy toilet paper somewhere.