On the festival circuit, documentaries — at least those not directed by Frederick Wiseman or Errol Morris — too easily are overlooked when programmed next…
There’s very little to distinguish Belfast as a work of art, a film that uses its dramatic and formal elements only in service of feel-good platitudes.…
Uppercase Print mishmashes modes and can become a bit of a slog, but there’s enough formal playfulness to recommend it as a valuable addition to Jude’s…
Certified Lover Boy finds Drake is simply going through the motions, an album that sounds just like his last couple, but with even less of…
The Servant is another stunning piece of evidence that Shelby Lynne can do pretty much anything as a singer and record-maker. Following the genre-bursting bravura of…
In the Meantime is a bit overstuffed with filler, but Alessia Cara’s latest makes for a pleasant background companion in our present reality. Alessia Cara made…
Texis is a little too uniform, but is proof that Sleigh Bells understands their own strengths, even if it doesn’t do much to further their sound.…
29: Written in Stone is the best mainstream country album of the year and feels like the moment where Carly Pearce has come into her own…
Drake Drake — the artist, the brand, the living meme — goes through the motions these days. Why? Because he knows that he’ll be handsomely…
Julia doesn’t cover a lot of new territory for the already initiated, but it’s still a delightful bio-doc made with plenty of love. In a society…
Odagiri’s somber observations about transition within tradition make for a meditative, rewarding viewing experience. Ten years after his debut feature, Looking for Cherry Blossoms (2009),…
Clifford the Big Red Dog is vapid, conceptually nihilistic, and utterly soulless “entertainment.” When moviegoers go to the movies, they typically do so with certain expectations:…
A Man Named Scott is a vanity project doc that pushes a hip hop-savior narrative at the expense of any meaningful substance or study. If you…
Jimmy O. Yang makes for an unconventional, likeable lead, but Love Hard is an otherwise frothy and disposable holiday trifle. The bafflingly titled Love Hard would seem…
Larrain is given massive assists courtesy of Stewart and Spencer’s A/V artists, but everyone is let down time and again by the film’s wildly unsubtle script. With…
Hell Hath No Fury is something of a departure for Jesse V. Johnson, but the director once again delivers a tough, kinetic actioner, here aided by…
Anonymous Animals is repetitive, unimaginitive, and facile in boths its ideas and images. Anonymous, indeed. If, for some misguided reason, you feel the need to create…
A Cop Movie is a clever deconstruction that doesn’t add up to much more than a grab bag of meta elements, but it at least seems…
One Shot employs its titular gimmick to no discernible value, but its actioner bona fides offer top-notch DTV thrills. Over the course of the last decade…
Finch is entirely predictable and low stakes, but the duo of nice-guy Hanks and a cute pup musters enough pleasant earnestness to keeps things afloat. Sometime…
Mark, Mary & Other People’s narrow-minded treatment of open relationships would make for a fantastic double feature with any episode of The 700 Club. It’s fairly…