The Bubble is a self-indulgent, unfunny mess of a film that continues Apatow’s sharp artistic decline. Few modern comedies have been as self-indulgent, unfunny, strangely dated,…
Moonshot never takes off, any potential low-key rom-com pleasures undercut by a flattened sense of conflict and by-the-numbers plotting. Once a reliable Hollywood staple, the romantic…
Night’s End is a Frankensteined mess of horror movie modes that never achieves any formal or thematic cogency. Jennifer Reeder has always gravitated toward highly particular…
Adele Exarchopoulos makes this French import worth at least a couple fucks. The mid-midlife crisis genre has always been a bit of a mixed bag,…
Apollo 10 ½ is another wonderful work of melancholic yesteryear from cinema’s foremost purveyor of childhood nostalgia. Apollo 10 ½: A Space Age Childhood finds writer-director…
Master is impressively textured formally and presents is nuanced in its discursive considerations, but fails to muster many scares as a horror film. Amongst the cohort…
Windfall doesn’t have much depth but works quite well as a slick and playful noir trifle. Filmmaker Charlie McDowell has established a flair for filtering the…
Cheaper by the Dozen is successful at counting to 12 and basically nothing else. The Disney-Fox merger has been something of a boon for the House…
Black Crab is a mishmash of apocalyptic signifiers and sci-fi recency without ever establishing much of a core. The world has ended a few times over…
It’s easy to ride Love After Love’s opulent wave of aimlessness for a while, but it eventually all becomes too exhausting. Love After Love is…
Deep Water is an erotic thriller that’s neither particularly erotic nor thrilling. Those hoping for a horny throwback to the now-considered-classic erotic thrillers of the…
The Adam Project takes the shape of any number of sci-fi adventure romps, but offers a surprisingly developed emotional core. It’s been quite a while since…
Feast exists in the liminal spaces between fact and fiction, a wholly original work that forces viewers to grapple with its themes in troubling, unexpected ways.…
Last Exit: Space engages in plenty of stimulating rhetoric, but its muddled tone and underwhelming visual aesthetic undermine much of its cinematic appeal. Given the endless…
The Seed offers plenty of gooey, gloopy genre fun, but is ultimately too scattershot and arrhythmically paced to fully recommend. There’s always room out there for…
Train Again is yet another bold, precise, and transcendental work from Peter Tscherkassky. As InRO contributor Brendan Nagle once observed, the image — 24 of them…
Fresh isn’t actually all that fresh. From a narrative perspective, Fresh is a nearly impossible film to write about without beelining straight to spoilers. There’s…
A Madea Homecoming offers conclusive evidence that Perry’s work as a (melo)dramatist is, at this point, far superior to his comedic endeavors. With 47 directorial and…
Potato Dreams of America is an uneven, arrhythmic effort that undermines its early promise with a blunted second half. If Marvel’s Wandavision has left you…
Hellbender is the best kind of DIY effort, technically accomplished and on the verge of transcendent horror. 2019 introduced genre audiences to The Deeper You…