The Takedown is inoffensive as a buddy cop comedy, but runs into trouble with its reductive neoliberal political invocations. Louis Leterrier’s The Takedown, a sequel…
Like A Rolling Stone excels in conveying a vivid sense of the flesh-and-blood human behind the venerated byline. Ben Fong-Torres, the celebrated music journalist profiled in…
Inbetween Girl manages to avoid the tepid dramatics of so many teen-screen films, but too often succumbs to bouts of preciousness and self-conscious affectation. The problem…
Bubble is an altogether gentler anime product for Araki, aiming for the emotional stakes of films like Your Name, but is slight to the point of…
Polar Bear is a pleasing visual document and marks something of a welcome pivot for Disneynature, but still boasts a low ceiling thanks to the…
Virus: 32 isn’t reinventing the zombie film wheel, but its careful attention to craft and precise formalism mark this effort near the head of the class.…
The only choice to make regarding Choose or Die is to choose not to watch this lazy, unintelligible bit of horror rehash. New Netflix horror flick Choose…
The Cellar is far too bogged down in the why of its haunted house conceit, deferring thrills in its dull march to an inevitable conclusion. Brendan Muldowney’s The…
Metal Lords blunders plenty, but its blend of heavy metal and heavy feels makes for an imperfect but heartfelt affair. New Netflix film Metal Lords opens…
All the Old Knives is a DOA old-school espionage thriller that only succeeds in proving how wasted Chris Pine is. Sporting quite possibly one of the…
Until the Wheels Fall Off works well as a survey documentary, not necessarily penetrating but reveling in the small mysteries that careers like Hawk’s are built…
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…