PAW Patrol: The Movie isn’t explicitly copaganda, but it isn’t much else either: just toddler cinema designed to sell toys. In their conversation about 3…
There’s a perverse gothic sex comedy located somewhere in Jakob’s Wife, but it’s buried under reams of flat, deadening horror comedy. The work that made Barbara Crampton…
In the Same Breath boasts plenty of charged imagery and emotion, but its pat dialectics and dangling theses undermine its intellectual power. For a while,…
Beckett rides the talents of its stacked crew to the most generic possible destination. On paper, Beckett would seem to hold plenty of promise. Directed by…
Thrice Upon a Time is yet another bold, challenging, pathos-filled apocalyptic plunge into the human psyche. Hideaki Anno is doing it all over again. No,…
Generations isn’t doing anything all that novel for static-shot documentary filmmaking, but as an exercise in how to watch cinema, it’s a plenty worthy effort. Stop me if…
Bleed With Me is too generic as a familiar, slow-burn mood exercise, but Moses has plenty of technical acumen to recommend keeping an eye on…
The Cloud in Her Room is an one-note exercise in empty style that fails to marry its form and content. Zheng Lu Xinyuan’s The Cloud in…
Vivo starts strong under Lin-Manuel’s distinctive brand, but veers into the realm of recycle in its disappointing back half. Few performers are more divisive in our…
Teddy feels awfully familiar and its bid at upsetting that template doesn’t quite work, but the Boukherma brothers at least present a clear sensibility that could…
All Hands on Deck dabble in tropes and archetypes, but still manages a vibrancy that keeps the film afloat. One of a number of Rohmer riffs…
The Last Mercenary isn’t much as a JCVD actioner, but it’s modestly held together by the aging star’s pronounced comedic chops. Legendary action figure Jean-Claude Van…
The Boy Behind the Door doesn’t do much that hasn’t been seen before, but mostly works on the strength of its careful, expert craft. A tough,…
If Krabi 2562 fails to convince by its end, its argument is at least worth engaging with. Following a short film collaboration for the 2018 Thai…
Kandisha doesn’t quite rise to the directors’ past heights, but remains both riveting and probing in its own right. With horror, thriller, and the many…
Stuntman is a more modest effort than similar docu-efforts, but greatly benefits from Braun’s sincerity and likability. On September 8, 1974, with a ton of…
Jolt is an ironically-titled dud, its rote thriller stylings utterly unervating. Tanya Wexler’s Jolt is like a fake movie playing on the television in a better,…
The Last Letter from Your Lover is an utter misfire, devoid of the chemistry and coherent performances necessary to sell its ostensible romance. Like so many…
Air Conditioner is a beautiful, thoughtful work of easygoing charm and surprising intellect. As far as cinematic representations of heat go, Ernest Dickerson’s work on Do…
The final Fear Street entry is something of a mixed bag, thriving in its eponymous past setting but floundering a bit as the series comes…