The global lack of knowledge that’s resulted from Turkey’s denial campaign is more amnesia than ignorance.
According to Brian Shoaf’s Aardvark, a man’s psychosis boils down to an extreme case of sibling rivalry.
The film works as a sobering and, in its own way, inspiring look at Raqqa Is Being Slaughtered Silently.
Throughout Thirst Street, Nathan Silver captures a superbly varied set of performances from his cast.
Flames grows tougher, weirder, and more ambiguous, casting much of its early cuteness in a starker light.
Death hangs over Lana Wilson’s documentary in grandly cosmic fashion.
Katie Green and Carlye Rubin’s film documents the transferrable perversities inherent in familial life.
Dog Years is a collection of old-fogey clichés, with a narrative that mixes a career retrospective with a road trip.
More galling than the film’s litany of melodramatic banalities is its regressive view of race relations.
The film touches on the effects of a culture that puts too much emphasis on winning and money at the expense of simple healthy competition.
It finds humor and love in a potentially grim situation without ever belittling or caricaturing the characters.
Mike Birbiglia film isn’t about success or failure as much as it is about the creative life.
Katie Holmes’s character encapsulates her film as a whole: more earnest than remarkable, but with its heart in the right place.
It all climaxes in a literal wrestling with the self that suggests a character finally grasping her own limits as an actress.
Nerdland exudes a self-satisfied smugness in its unvaried focus on the worst of human behavior.
Karl Mueller convincingly posits freedom as being elusive because it’s essentially a violation of human nature.
There’s almost no sense of discovery or emotional evolution as the scenarios grind toward their conclusions.
Bilal Chatman and Kenneth Anderson’s stories both illustrate the injustices of the three-strikes law.
Writer-director Christopher Smith’s film is openly but superficially influenced by Strangers on a Train.
Ian Olds’s The Fixer is essentially a standard backwoods noir tale given a topical twist.