It’s all too easy to feel at home in Casey Walker’s Home Bodies. Red (Emma Ho) and Blue (Ian Ho) have lived all their days in…
Akira Nagai’s Suzuki=Bakudan is a police procedural in which nearly every consequential movement begins with a man sitting at a table. Tagosaku Suzuki (Jiro Sato),…
Canadian perversion has always held a firm grip on our self-narrativization, the violent alienation of our national identities always sought after in reconciliation. Most often,…
There is something about horror maestro Takashi Shimizu’s The Mouths that feels as foundational as myth. The film’s premise is simple enough: a group of university-aged…
While Hostel (2005) and Hostel: Part II (2007) are the immediate poster children for Eli Roth’s work as a horror director, his debut Cabin Fever…
Mexican director Fernando Eimbcke is a delight, a playful formalist in a sea of self-serious festival auteurs. But because comedy is often viewed askance by…
Lou Diamond Phillips, now over 40 years into his acting career, has quietly become one of our more reliable screen performers. His big break came…
Thomas Kail’s live-action Moana retains the 2016 animated film’s narrative and musical architecture so faithfully that the change of medium amounts largely to a substitution…
30 years ago, Ngozi Onwurah made history by becoming the first Black female filmmaker in Britain to have a film released theatrically. As she’ll tell…
In this dispatch: Colony, Someone\’s…
At best, Wiebke von Carolsfeld’s Someone’s Daughter can be described as well-intentioned. Critically, however, it is existentially foolhardy and morally naive. Carrying a juvenile sort…
In Mark H. Rapaport’s Godhead, the world would seem to start and end between the walls of the church. In fact, this specific church commands…
Kasper Kalle’s No Rest for the Wicked is, on the face of it, dark and grim; apt, for a vampire horror with Gothic sensibilities. The film,…
Corpus opens tantalizingly, with a modeling session in which apparently inexperienced Wren (Nuha Jes Izman) is being photographed by veteran Billie (Lily Cowles). This being…
Watching Peter Hengl’s mid-length film The Fated Hour feels like handling a delicate porcelain doll: a precious encounter with a time-worn magic. The film, commissioned…
It seems like there are only two certain things nowadays: death and new Spider-Man movies. Audiences apparently just love the character, so much so that…
Descriptors like “off-kilter” evoke something crooked, unbalanced, slanted, strange. These words are all, more or less, synonymous with the original meaning of the term “queer.”…
If you haven’t heard, Gen Z isn’t getting laid. Sex — who’s having it, and more importantly, who’s not — is paramount in Gregg Araki’s…
Turning 30 fucking sucks. Too old to be considered young, yet too young to have everything figured out (as if anyone ever really has it…
Yashaddai Owens’ debut feature, Jimmy, though it follows James Baldwin at a pivotal moment in his life, cannot be accurately called a biopic. Rather, in its…
Sometimes all you want out of a movie is a really, really huge guy tearing smaller guys apart with his bare hands. Alan Ritchson has…