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…
Texas Chainsaw Massacre is yet another forgettable series entry, distinguished only by its lame attempts at social relevancy. When David Gordon Green revived Laurie Strode…
jeen-yuhs is a harrowing, deeply personal look at Kanye’s early years, celebrating the genius of both an artist and those who helped him build his…
Kimi occasionally falters in terms of character and dramaturgy, but Soderbergh’s latest is still a slick, undeniably cool Hitchcockian riff on smart technology’s dual nature. While it…
The Sky is Everywhere’s YA origins generate too many cringey twee moments here, but there’s no denying Decker’s visual power to elevate the material. Her…
Bigbug is all bug and no feature, an obnoxious, puerile work of catastrophic indulgence from Jean-Pierre Jeunet. Much has been made of the fact that,…
I Want You Back is a pleasantly askew rom-com, acidic on the edges and reveling in the distinct comedic style of its leads. There was a…
All the Moons is a gorgeous, sorrowful, and achingly sensitive fairy tale. Though it at first looks like a typical, if particularly handsome, period vampire film,…
Lingui is a middlebrow arthouse trifle that offends in its simplicity and deference to narrative convenience. Lingui, The Sacred Bonds, the latest from Chadian director Mahamat-Saleh…
Like so much recent horror, Slapface relies too heavily on soft metaphor, but there’s sufficient talent here to still keep things interesting. Jeremiah Kipp’s Slapface…
Black Medusa is cast with a certain austere beauty, but is an otherwise empty exercise in bland, utilitarian form. In a thankless role as one of…
Home Team is roughly as awful a film as Sean Payton seems to be a human based on this deflective vanity project. Sean Payton, head coach…