G-Eazy By the time Macklemore (and Ryan Lewis) got around to making their second, career-killing album, This Unruly Mess I’ve Made, it had already been…
Red Notice is as close to an algorithm-written film as the world has yet had the displeasure of viewing. A few years back, there was a…
Night Raiders teases a unique dystopian setup, and then fails to meaningfully develop any of its promising parts. In a millennium overstuffed with dystopian presentations, it’s…
Mother is both brutal and poetic, a contention with self and homeland, and an introduction to one of contemporary cinema’s most exciting voices. When Lemohang Jeremiah…
If you want your holidays ruined, you should definitely watch Home Sweet Home Alone. When the Walt Disney Company bought out 20th Century Fox in…
What Do We See, in its rejection of atomized systems of characterization and narrative, offers a kinder, more free-spirited form of cinema. Alexandre Koberidz’s first…
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…
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…