Contrary to popular (mis)conception, great horror doesn’t often come from trying to evoke fear from viewers. The audience is a vague, nebulous concept, and…
The Adam Project takes the shape of any number of sci-fi adventure romps, but offers a surprisingly developed emotional core. It’s been quite a while…
All My Friends Hate Me’s off-kilter framework is both a blessing and curse, but there’s an abrasive charm for those willing to play its…
Even more than most of the genuine oddities that have managed to find their way into the that motley crew known as the Canon…
Ultrasound is appealing in spurts but frustratingly sticks to a safe middle ground where it could have stood to be messier. Rob Schroeder’s Ultrasound exists…
The Long Walk is an intricate and elegant work, sure to be one of the year’s best genre efforts and a remarkable calling card for…
Feast exists in the liminal spaces between fact and fiction, a wholly original work that forces viewers to grapple with its themes in troubling, unexpected…
Last Exit: Space engages in plenty of stimulating rhetoric, but its muddled tone and underwhelming visual aesthetic undermine much of its cinematic appeal. Given the…
The Seed offers plenty of gooey, gloopy genre fun, but is ultimately too scattershot and arrhythmically paced to fully recommend. There’s always room out there…
Preceded by Ripe, Parlour Palm, and A Woman’s Block, Eve’s Parade is filmmaker Rebeccah Love’s final entry in a quartet of films depicting women who struggle against societal…
Train Again is yet another bold, precise, and transcendental work from Peter Tscherkassky. As InRO contributor Brendan Nagle once observed, the image — 24 of…
Turning Red is another Pixar dud that trades in cheap cribbing at the expense of real originality. Once an unimpeachable bastion of creativity and…
Fresh isn’t actually all that fresh. From a narrative perspective, Fresh is a nearly impossible film to write about without beelining straight to spoilers.…
Dear Mr. Brody is powerful in spurts and conceived of in fascinating terms, but Maitland struggles to reconcile his disparate threads into a cohesive whole.…
There’s an appealing, lulling rhythm to Kogonada’s second feature, but few of its philosophical inquires are met with worthy responses. There is much to…
Arnaud Desplechin’s third feature, Esther Kahn, premiered to mixed reviews at the 2000 edition of the Cannes Film Festival. Originally clocking in at 152 minutes,…
Asking for It is a cheap and muddled affront to the women it seeks to foreground. Asking for It, the debut feature from writer-director Eamon…
Great Freedom is a tender celebration of unconventionality, in all its complex and varied incarnations. Paragraph 175 was a provision of the German Criminal Code…