After releasing notorious flop/secret success Exorcist II: The Heretic in 1977, director John Boorman turned to an attempt at producing a Lord of the Rings…
Episode Description: This week, the fountain of youth wreaks havoc on the lives of Meryl Streep, Bruce Willis, and Goldie Hawn in 1992’s dark comedy…
Not all of the poetic evocations of Jessica Sarah Rinland’s Those That work, but it’s still a lively, playful, and niche document of art creation.…
Between Dog and Wolf In Irene Gutiérrez’s Between Dog and Wolf, the relationship between past and present — and future — is vertiginous. We are…
When William Bevan (a.k.a Burial) was working on the original tracks for the follow-up to his 2006 freshman release, he “took ages on them” (per…
Unlike Puiu’s similarly-shaped Sieranevada, Malmkrog is all empty abstraction, mistaking prattle for praxis. “For a talking cinema”: that’s the title that a young Maurice Scherer, not yet christened…
Thunder Force is yet another high-concept comedy collab between McCarthy and Falcone that fails at, well, being funny. On its surface, a film like Thunder…
Carrie Underwood At no point in her career has Carrie Underwood hidden her Christian faith; after American Idol, and the coronation single that followed, both…
Moffie is a visually striking film but one which suffers for failing to fully commit to the ugliness inherent to its narrative. Moffie is the…
Lana Del Rey Few pop artists in recent years have oscillated between mass adoration and mass infamy as regularly as Lana Del Rey, recipient of…
Slalom is a raw and unpretentious study of trauma and the ways in which young women can wrest back control of their own course. The…
Held manages to best Cluff and Lofing’s The Gallows, but it still an abysmal, problematic, and tension-free failure. The new marriage-in-peril thriller Held comes courtesy…
“Movies don’t scare me” — said a straight-faced and stoical John Carpenter to Mick Garris in a 1982 television interview called “Fear on Film.” (Accompanying…
The Power doesn’t hold a lot of mystery but thrives by situating its political and cultural critiques as blunt, horrific text. There’s something sinister lurking…
Mamade Claude isn’t much more than shallow period dress-up and empty provocation. Set, for the most part, in the final tumultuous years of the Swinging…
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…
Funny Face works as genre deconstruction and cinema of a certain geography, but its attempts at explicit commentary are less successful. Tim Sutton is a…
Under the guise of complacent nothingness, the characters of Philippe Garrel’s Regular Lovers manage to paradoxically enact and participate in sundry relationships, death drives, drug…
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…
When I was 22, my best friend and I lived together for a while in the apartment where I grew up. We were a twenty-minute…