Nocturne, while imperfect and visually deficient, nonetheless represents the best yet of Amazon’s Welcome to the Blumhouse collab. Part of the second batch of…
A Babysitter’s Guide to Monster Hunting is an old-school, family-friendly romp of pleasing, lightweight horror. Adapted from the eponymous trilogy of YA novels by Joe…
Black Bear In the debate between mimesis and anti-mimesis, Lawrence Michael Levine’s Black Bear proffers a third possibility — that life is art in…
Dick Johnson is Dead forgoes potentially rich avenues of more universal concern, but remains a heartfelt portrait and preservation of the filmmaker’s father. Documentarian…
Honest Thief is a lazy, cheap, and deeply stupid entry in the Liam Neeson crime cinema oeuvre. With Honest Thief we have yet another entry…
On the Rocks “It must be very nice to be you.” That’s what Laura (Rashida Jones) says to her gadfly dad Felix (Bill Murray)…
Evil Eye marks an improvement on the first wave of Welcome to the Blumhouse titles, but remains a mostly ineffective at developing either genre styling…
Point and Line to Plane How does one give shape to one’s experience, one’s grief? The question persists through the films of Canadian director…
Books of Blood is a little exploitative, quite a bit derivative, and overwhelmingly boring. There’s nary an original image or idea in Brannon Braga’s Books…
The Forty-Year-Old Version deploys a charming lead but never manages to coalesce its many and varied influences. Within the relative glut of 21st-century hip hop…
Late career Adam Sandler thrives within Netflix’s low stakes, and Hubie Halloween is his most buoyant effort yet. For the better part of a decade, most…
Mandibles Perhaps the most unbefitting title to arrive in the middle of a global pandemic, Quentin Dupieux’s Mandibles defies the current for two reasons.…
Another week, another festival. For this year’s BFI London Film Festival, it’s business as usual, which is to say the unusual business of 2020…
Garrett Bradley opts for vague generality rather than the specific and personal, robbing Time of some of its implicit power. From the western to the…
With direct-to-video/streaming action films now a bonafide cottage industry with their own tropes, star filmmakers and performers, and aesthetic trappings, the real mediocrities are…
The Wolf of Snow Hollow is yet further, winning proof of Jim Cummings’ singular artistic voice. Much like his debut feature, 2018’s Thunder Road, director-writer-actor…
Where many festivals this year have had to get creative in their exhibition format, Nightstream has taken that industrious spirit to a new level…
Trump Card was always going to be pathetic, but it surprises in demonstrating new lows of argumentation and cohesion from its soft-minded director. Dinesh D’Souza…