The Devil Below is unfortunately hamstrung by its shoestring budget and liberal cribbing of better horror properties. Being a horror fan is sometimes like taking a…
Shoplifters of the World is bad enough that all it really accomplishes is a reminder of how great The Smiths were. Set in 1987, Stephen Kijak’s…
OK, so things don’t really vanish anymore: even the most limited film release will (most likely, eventually) find its way onto some streaming service or…
Violation is a stunning debut feature that matches its its thorny discourse with impeccable technical craft. Writer-director duo Madeleine Sims-Fewer and Dusty Mancinelli have been making…
Nobody is an absolute blast of genre filmmaking and T-fueled ass-kicking glee. By now, it’s not really a stretch to assume that Bob Odenkirk isn’t just…
Totally improbably, MGMT still exists, and not just that, but they also continue to build and better their sound, having released three albums since their…
The Spine of Night The Spine of Night is a whole lot of movie. Despite the film’s relatively straightforward fantasy logline — sorcerer goes mad…
In 2017, former NSA contractor Reality Winner was arrested by the FBI and charged under the Espionage Act for leaking documents pertaining to Russia’s attempts…
Tom Petty, Somewhere You Feel Free is one of those documentaries that is arguably most suitable for a festival like SXSW. That’s not simply because…
Bedford-Stuyvesant, Brooklyn, summer of 1973. A kid yells from the fire escape outside a brownstone window to his friends on the street below. A swooping…
Timeliness is one of the great current curses of small-budget genre filmmaking. The impulse to tie a film’s premise to current events or ideology certainly…
Fucking with Nobody For her sophomore feature, Fucking with Nobody, Finnish director Hannaleena Hauru opts to play an on-screen alter-ego of herself. Hanna is a…
Little Oblivions is a sonically expansive, linguistically mature step forward for Julien Baker. “Faith Healer,” the third track on Julien Baker’s latest album, Little Oblivions, opens…
Aaron Lee Tasjan’s latest is a confident, audacious work that earns all of its explanation points. Because he’s found a home on the New West…
Ryley Walker’s latest makes a strong case for the increased visibility and label placement of psych rock jammers. After shopping himself around to different labels…
Julien Baker “Faith Healer,” the third track on Julien Baker’s latest album, Little Oblivions, opens with a lament: “Oh, I miss it high, how it…
At first glance, the plotting of Bradley Grant Smith’s directorial debut feature Our Father would seem to offer plenty of promise. Beta (Baize Buzan) and…
The most interesting aspect of the new comedy Paul Dood’s Deadly Lunch Break is its unwieldy title, an attention-grabber that promises a rollicking good time…
Woodlands Dark and Days Bewitched In 2012, writer and film programmer Kier-La Janisse published House of Psychotic Women, a tremendous and essential text, part autobiography,…
City of Lies is deeply trite in its messaging, but given its prolonged stay on the shelf, isn’t as bad as you might expect. Arriving nearly…
As an inadvertent result of the world’s continued struggle against COVID-19, writer-director Martin Edralin’s Canadian family drama Islands evinces an unexpected form of empathy; with…