Mack & Rita is but the latest lame vehicle for Diane Keaton, a lazy body swap flick with little heart or humor to sell its concept.…
Free Chol Soo Lee doesn’t quite feel like a full exploration of its subject matter, but Ha and Yi’s act of excavation still ultimately proves moving.…
Patrick: So we’ve made it to the finale, Ryan. In our last correspondence I wrote of Assayas’ proclivity for compartmentalization, boxing different characters away once…
Fall is an utterly dull would-be thriller that squanders the visual possibility of its premise and trades only in inane melodrama. 2018’s Academy Award-winning documentary Free…
Aubrey Plaza remains one of our most intriguing stars, but Emily the Criminal imprisons its leading lady within anonymous old-school thriller retread. Anyone not already convinced…
El Gran Movimiento offers a thoroughly idiosyncratic and elliptical approach to the city symphony, one rooted in character and in which the spirit of the…
Laal Singh Chaddha is an abysmal Forrest Gump remake that eviscerates any sense of Zemeckis’ tonal control and bears none of that film’s emotional stakes.…
Like The Outlaws before it, The Roundup is a pretty basic cop movie, but director Ma Dong-seok spins it all into irresistible entertainment. In 2017, Ma Dong-seok, fresh off…
Curtis Mayfield’s soundtrack for Super Fly, Gordon Parks Jr.’s 1972 debut feature and one of the most popular and best known films of the blaxploitation…
Please Baby Please It’s the rare film that proves capable of achieving genuine novelty, and even rarer to find one that manages to parlay novelty…
Fifty years ago this month, the late Wes Craven premiered The Last House on the Left, a film notorious even in an era of exploitation…
Easter Sunday is bad enough to make spending time with extended family start to seem appealing. A major studio releasing a film entitled Easter Sunday in…
This latest Ninja Turtles product is a narratively lazy and formally chaotic bit of empty IP. As long as one doesn’t stubbornly insist on a…
They/Them offers a surprisingly empathetic and graceful treatment of its LGBTQ-focused material, but its horror bona fides are more lacking. Blumhouse’s new slasher flick They/Them is…
This latest iteration of The Most Dangerous Game is nothing more than a shallow vehicle for bloodshed, and dull to boot. 1932’s The Most Dangerous Game,…
Bullet Train is an wholesale derailment, an inane, ’90s-styled crime caper built on comedy that isn’t funny and action that’s plagued by godawful execution. Early…
Prey doesn’t always hit high action points, but remains rousing late-summer entertainment largely on the strength of its intelligent and formally impressive setting switch-up. Almost exactly…
I Love My Dad employs a risky outsized gambit in telling its tale, but it thankfully registers as darkly hilarious and often poignant. It’s easy to…
An ill-conceived inertia plagues Memory Box, and its magical-sounding title only barely conceals the roteness of its center. In Sophy Romvari’s Still Processing, an intensely personal…
What Josiah Saw exhibits Grashaw’s considerable formal chops, but there’s an inherent silliness pestering its core and its ending undermines some of its power. The past…