Broken Diamonds at least steers clear of the offensive depictions that sink so many schizophrenia flicks, but it doesn’t rise much above this low bar.…
Rock, Paper and Scissors starts off beguilingly odd, but fails to ever realize its genre potency and soon falls into wheel-spinning. There’s something very wrong…
The Man with the Answers aims for restraint but instead fails to either properly probe or articulate its characters. A well-meaning and tentative entrant into…
Long Story Short is occasionally pretty to look at but otherwise gruelingly repetitive and dull. From the guy that played Kano in this year’s Mortal…
Unlike its subjects, Rebel Hearts is too conventional and not daring enough. Uplifting and unashamedly radical, Rebel Hearts, the sophomore effort from Pedro Kos, traces…
Snake Eyes is all boring backstory and cliched tropes, and not remotely as weird as the material demands. Apparently, it’s absurdly hard to make a…
Kandisha doesn’t quite rise to the directors’ past heights, but remains both riveting and probing in its own right. With horror, thriller, and the many…
Stuntman is a more modest effort than similar docu-efforts, but greatly benefits from Braun’s sincerity and likability. On September 8, 1974, with a ton of…
OK, so things don’t really vanish anymore: even the most limited film release will (most likely, eventually) find its way onto some streaming service or…
Old suffers a bit from Shyamalan’s weaknesses as a writer, but by its end, ranks as one of the director’s weirdest and most poignant works yet.…
Despite clearly belonging to a lineage of oddball, lo-fi comedy, A Dim Valley still marks itself as a unique contribution. Shot through a gauzy haze,…
Jolt is an ironically-titled dud, its rote thriller stylings utterly unervating. Tanya Wexler’s Jolt is like a fake movie playing on the television in a better,…
The Last Letter from Your Lover is an utter misfire, devoid of the chemistry and coherent performances necessary to sell its ostensible romance. Like so many…
There’s no denying that Val indulges in a bit of hagiography, but it remains a frequently engaging study of its enigmatic subject. Actor Val Kilmer has…
Promotional materials for Audrey Estrougo’s Suprême NTM biopic — imaginatively titled Suprêmes — notes La Haine, Les Misérables, and Straight Outta Compton as reference points…
Drive My Car Ryusuke Hamaguchi has fast become one of the more dependable filmmaker’s regularly working the international festival circuit, ever since he broke big…
Settlers offers neither genre thrills nor any real interrogation of the material’s potentially rich subtext. Part sci-fi thriller, part western, part survivalist drama, Wyatt Rockefeller’s Settlers…
Brian De Palma is the great voyeur, the plump-bellied pervert, of American cinema. His films have a singularly sleazy feel, gloriously gaudy and admirable in…
Ailey ably captures and reflects its eponymous subject’s abiding vision: art’s capacity as a universal language. On December 4, 1988, dancer-choreographer Alvin Ailey received the…
What’s more hip than mimicking the particular, diffuse, long-take formalism favored by many of the most acclaimed filmmakers in Asia today? How about having your…