He’s All That is a lazy, purely nostalgia-driven dud that rehashes without imagination or innovation. The very real nostalgia that exists for 1999’s She’s All…
With the release of last year’s conversational documentary Leap of Faith: In Conversation with William Friedkin, one thing has become abundantly clear — people are…
Bernard Rose’s 1992 film Candyman, freely adapted from a Clive Barker short story, is the tale of a white academic who inadvertently summons a murderous…
It might surprise Western viewers watching the raw portrait of youth in Snowball to learn that its writer/director Lee Woo-jung has spent the last decade…
What We Left Unfinished never moves past the basic work of archivalism. 1921. 1989. 2021. The cycles of imperial superpowers invading, occupying, and summarily abandoning Afghanistan…
Whirlybird ultimately disappoints with its own kind of bland journalism. Charting the professional milestones and personal travails of Zoey Tur and Marika Gerrard, the dynamic partners…
American Sausage Standoff is even more asinine than its title suggests. The first question that must be asked of American Sausage Standoff has to be: what…
The minor miracle of Playing God is that it somewhat works despite its obviously stupid conceit. One would be forgiven for mistaking the new con artist dramedy…
New rom-com The Con-Heartist comes courtesy of director Mez Tharatorn, a filmmaker who made a name for himself in his native Thailand with 2012’s blockbuster…
Time, Ricky Ko’s debut feature after a decade of assistant directing, opens with its splashiest and most exciting sequence. Featuring a male and female assassin,…
Blood Conscious is a low-key horror charmer that mostly succeeds on the strength of its clever manipulations. Blood Conscious, the debut feature from writer-director-editor Timothy Covell,…
In a bleak, post-Trump reality wherein nationalist hogwash has pervaded casual discourse, Yû Irie’s Ninja Girl reflects the kind of right-minded rhetoric that the world…
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…
Ninja Girl In a bleak, post-Trump reality wherein nationalist hogwash has pervaded casual discourse, Yû Irie’s Ninja Girl reflects the kind of right-minded rhetoric that…
Together is an endurance test for viewers and a self-satisfied pat on the back from the filmmakers. Stephen Daldry has become a bit of a punching…
The Show is an imperfect beast, but it’s beautiful and horrifying in a way only Alan Moore can concoct. Northampton has always been a strange place.…
Purple Sea is an arthouse trifle that merely effects the posture of serious cinema. In his 1975 book Notes on the Cinematographer, austere French director Robert…
It’s probably unnecessary to note that Japanese (pop) culture, and more specifically its cinema today, has a sort of very vivid coolness and charm that…
Following the release of last year’s Blood Quantum, Rueben Martell’s Don’t Say Its Name is a welcome addition to the still-small genre of Indigenous horror.…
Daniel de la Vega’s On the Third Day, co-written by Alberto Fasce and Gonzalo Ventura, begins with three separate lives intersecting on a dark, lonely…