The film embodies the alienating angst of millennial life in all its nakedly neurotic glory.
Ben Hozie’s wry, observational film positions a young man’s repressed sexual paranoia as a reflection of a more general social malaise.
The film is inspirational only in the sense that it may inspire an uptick in Amazon searches for running gear.
The film plays like a mixtape of various sensibilities, partly beholden to the self-contained form of the bildungsroman.
Director Natalia Leite’s ambition and accompanying uncertainty give the film its unruly and resonant energy.
It begins as a clever pseudo-mumblecore provocation only to quickly turn into indefensible nonsense.
Celia Rowlson-Hall’s Ma has had its subtext dragged kicking and screaming to the surface by its writer-director.
The film evolves from an absurdist comedy into a remarkably wounded story of friends who’re beginning to tire of their shared social cocoons.