Ukrainian director Sergei Loznitsa’s latest piece of archival “found footage” cinema would appear to have been taken straight from television. Edited together are a dozen…
How does one give shape to one’s experience, one’s grief? The question persists through the films of Canadian director Sofia Bohdanowicz, though it takes most…
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 Sofia…
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 of…
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 cinema,…
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 highbrow…
There is a kernel of a good idea buried somewhere within the shitstorm that is the new horror-comedy It Cuts Deep. Unfortunately, writer-director Nicholas Santos,…
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. That…
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 film…
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 road…
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 becoming…
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 Jim…
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 has,…
The Projectionist is a lovely elegy for the glory days of film exhibition, one that 2020 has brought into surprising focus. Since getting clean a few…
Black Box is a lazy, boring, and self-serious entry in the Welcome to the Blumhouse project. The second feature in Amazon’s Welcome to the Blumhouse film series,…
The Lie is a generic, inauspicious inauguration for Amazon’s Welcome to the Blumhouse collaboration. Just in time for Halloween, uber-producer Jason Blum (and his Blumhouse Pictures)…
Time From the western to the road movie, the legacy of the climactic homecoming looms large in American cinema, which is everywhere peopled by vagrants…
All In: The Fight for American Democracy is the kind of political documentary that provides a slick, bland overview of its particular issue without leaving…
Despite the formidable presence of Angela Bettis, 12 Hour Shift is a half-assed and visionless throwaway. 2002 was a breakout year for actress Angela Bettis, as she…