Even within the teen romance subgenre, Hello, Goodbye stands out as particularly bland, delivering signifiers and signposts in place of genuine substance. Marketing materials for…
Beavis and Butthead Do the Universe offers the type of low-stakes low humor that demands little but gives generously to those willing to engage. Beavis and…
We’s length is felt perhaps a bit too much, but it’s ultimately a visually rich and vigorous film that locates a warm humanity with the…
The Man from Toronto is as familiar as assassin-centric action-comedies come, but nevertheless proves a refreshing blast of mid-summer fun on the strength of its affable…
CIVIL wades into necessary discourse, but stops short of probing any of the thornier facets of Crump or the culture that has led to his work.…
Spiderhead is pure algorithm “art,” an empty bad-tech tale that delivers nothing new or exciting. You’d be forgiven for getting excited for a mid-budget, talent-driven, non-IP-based…
Jerry and Marge Go Large presents its larger-than-life tale with restraint and sincerity, imbuing its caper framework with the tenderness of a Christmas comedy. If you’ve…
Clytaemnestra is compelling matched to its adapted text and its defining power dynamics, but is also a remarkably dry, frequently enervating work of stifled rhythms. What…
Cha Cha Real Smooth aims to hit viewers squarely in the feels, and even if will be too nicecore for some, Raiff’s brand of earnestness succeeds…
Father of the Bride ticks off the requisite boxes for a film of its ilk, and with some savvy, but its essential shallowness if troubled by…
Mad God is a profoundly unique work from Phil Tippett’s frenzied mind, a troubled, personal, and wholly original statement of the aching human heart. More famously…
Good Luck to You, Leo Grande is the kind of frictionless non-starter destined to be watched at half-attention. Good Luck to You, Leo Grande, or so…
Moneyboys looks good to the eye but sees nothing new, regurgitating the more inspired reveries of erotic ennui that directors like Tsai Ming-liang effortlessly dream…
Offseason is an undeniably slick film, but one too encumbered by bad aesthetic impulses and a too-shabby framework. Thirty minutes into Offseason, Marie Aldrich (Jocelin Donahue)…
The Righteous is a compelling forgery, often beautiful to look at but not nearly as profound as it believes itself to be. The Righteous, the debut…
Hustle is middlebrow inspo cinema that fails to channel the best of either Sandler’s juvenalia comedy or his dramatic talent — just one giant cliché…
Interceptor makes enough of its modest scale to please DTV action junkies until the next low-budget blaster comes along. DTV action lovers will have a…
A sharp, intelligent, and character-driven LGBTQ riff on Austen, Fire Island is one of the best things to happen to the rom-com genre in a…
Sycorax is a fluid re-orientation of filmic and theatrical modes, a mostly successful attempt at contextualizing classic modes within a contemporary context. The vastly different…
Look at Me is an entertaining Rorschach test, a declaration and a plea to study the evidence of a spectacular, troubled life. It begins with a…