Can You Bring It is a sumptuous, intelligent work about the beauty and infinity of the creative process. Following the evolution of the titular groundbreaking…
Unlike its subjects, Rebel Hearts is too conventional and not daring enough. Uplifting and unashamedly radical, Rebel Hearts, the sophomore effort from Pedro Kos, traces…
It’s nice to see Fox back in the horror saddle, but Till Death’s stronger elements too often fall victim to its thriller conventionality. Is it…
Good on Paper wittily upsets rom-com conventions, but doesn’t produce much substance beyond this initial fake-out. Following a string of stand-up specials and a sketch…
Prime Time is all the more terrifying for its refusal to pathologize its lead in any easy way. Set on the eve of the millennium,…
Given its material, When Worlds Collide should be a far more impressive visual document. Among the marquee names of the 1980s New York art scene,…
Sweat swims in the grey areas of internet intimacy to thoughtful, sometimes unsettling results. For as long as we’ve held any conception of celebrity, it’s…
This latest Conjuring effort displays a bit more awareness of precisely where its strengths lie, resulting in a lot of dumb fun for those happy…
RK/RKAY plays like something of a witty, warm riff on the absurdist stylings of early Charlie Kaufman, and pulls it off. Anybody who has tackled a…
When Hitler Stole Pink Rabbit has plenty of heart and restraint, but viewers will likely wish for a bit more ambition. Based on the semi-autobiographical children’s…
Port Authority boasts a thoughtful, intimate texture, but somewhat betrays its material in its character perspective. Going into Port Authority, two outcomes feel equally likely:…
Dope is Death is a vital contribution to the ongoing re-evaluation of the black liberation movement and a welcome antidote to conventional neoliberal pap. Given the…
Grear Patterson’s debut leaves much to be desired in the portrayal of adolescence and budding identity. Set amidst the waning adolescence of two baseball players,…
With Brewmance, director Christo Brock gives a quick but entertaining introduction to the world of home and small-batch brewing. Craft beer gets a bad rap in…
Here Are the Young Men fixates on its most histrionic narrative beats and hypermasculine conflicts at the expense of its greater strengths. Set in 2003…
Concrete Cowboy features a pair of solid performances and a sleek visual design, but suffers under the weight of its paint-by-numbers approach to narrative. Set…
WeWork is somewhat limited in focus and doesn’t always plumb deeply, but remains an intermittently fascinating portrait of a conman and his grift. When applying…
My Salinger Year is a gently romantic, old-fashioned love letter to literature and those irrevocably shaped by it. Philippe Falardeau’s My Salinger Year is the film…
Pixie delightfully channels Tarantino and Ritchie to playful, arch effect. After spending the last few years delivering stellar second-fiddle performances, Olivia Cooke steals the show in…
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…
There are certain iconic questions in cinema history that have endured long after the credits roll. Who shot first, Han or Greedo? Did the spinning…