The Shepherdess and the Seven Songs is a multilayered, intersectional films that resonates far beyond its humble, unassuming narrative. In the annals of films about nomadic…
Bitch Ass Slasher flick Bitch Ass opens with the one and only Tony Todd — yes, Candyman himself — as host of a seemingly low-rent…
Slasher flick Bitch Ass opens with the one and only Tony Todd — yes, Candyman himself — as host of a seemingly low-rent cable access…
The Art of Making It is the kind of sincere documentary that often populates film festival slates, one that seems to possess the germ of…
It’s not an overstatement to say that first-time director Reggie Yates has been quietly but surely becoming a mainstay of British media. From hosting children’s…
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 trying…
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 since…
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 uncomfortable…
Even more than most of the genuine oddities that have managed to find their way into the that motley crew known as the Canon (whatever…
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 on…
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 director…
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 ways.…
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 endless…
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 for…
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 expectations,…
Train Again is yet another bold, precise, and transcendental work from Peter Tscherkassky. As InRO contributor Brendan Nagle once observed, the image — 24 of them…
Turning Red is another Pixar dud that trades in cheap cribbing at the expense of real originality. Once an unimpeachable bastion of creativity and imagination,…
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. There’s…
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. Keith…
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 savor…