Drifting Home can be plagued by its narrative convention and visual monotony, but it’s also a charming portrait of emerging adolescence that will please plenty of…
The Cathedral is D’Ambrose’s portrait of the artist as a young man, a bracingly vigorous work and a precise survey of emotional turmoil. After a series…
I Came By is all superficial signaling, failing to build any actual substance, subtlety, or genre thrills into weightless construction. Babak Anvari is less a…
Who Invited Them visits well-worn territory, but its novel navigation of these familiar trappings makes for an effectively discomfiting viewing experience. The Covid pandemic and…
Outside Noise is an effortlessly accomplished work, unforced and moving toward an emotional spectrum out of the reach of most filmmakers. Ted Fendt’s body of…
Untrapped flirts with greatness in its initial stretch, but soon frustratingly settles into lionization and depthless narrative. There’s a solid half-hour stretch where Untrapped briefly flirts…
Loving Adults is visually impressive and sporadically interesting, but sacrifices the necessary character depth for this type of film at the altar of melodramatic plot construction.…
Samaritan is a shallow, abysmally paced actioner that fails to deliver any impressive action. A drab, joyless affair, the new Sylvester Stallone vehicle Samaritan finds…
Me Time is an unfunny, haphazard, and chemistry-poor waste of everyone’s time. The Kevin Hart-Netflix train rolls on with Me Time, a new buddy comedy from…
This Magnificent Cake! could stand be fleshed out a bit and its dual metaphors can feel somewhat redundant, but there’s no denying the film’s astounding (arts…
It’s often difficult to understand Babysitter’s aims, and viewers deserve more than something this over-caffeinated and underwritten. Director Monia Chokri’s dark comedy Babysitter establishes a very…
Glorious is stylish and occasionally pretty funny, but its lightweight genre pleasures are entirely undermined by a bafflingly stupid final twist. It’s hard to completely…
Orphan: First Kill lacks the pulpy playfulness and satirical intent of the original, entirely misunderstanding its appeal and rendering this sequel an underwhelming curiosity at best.…
Day Shift tackles familiar territory with refreshing style, breeziness, and memorably enjoyable characters, as well as delivering some of the year’s best action. Despite being a…
This latest Ninja Turtles product is a narratively lazy and formally chaotic bit of empty IP. As long as one doesn’t stubbornly insist on a…
They/Them offers a surprisingly empathetic and graceful treatment of its LGBTQ-focused material, but its horror bona fides are more lacking. Blumhouse’s new slasher flick They/Them is…
Prey doesn’t always hit high action points, but remains rousing late-summer entertainment largely on the strength of its intelligent and formally impressive setting switch-up. Almost exactly…
What Josiah Saw exhibits Grashaw’s considerable formal chops, but there’s an inherent silliness pestering its core and its ending undermines some of its power. The past…
Thirteen Lives delivers an immersive, impressively reconstructed telling the famous Thai cave rescue, but the film sags a bit when it comes to interrogating the seemingly…
With Not Okay, Shephard succeeds at crafting an unlikable female protagonist that feels true to our world and a film unafraid to reflect that world…