Yellow Cat is the kind of cribbing-as-mode film that illuminates nothing other than the kinds of movies its director likes. Godard once declared that all you…
Vacation Friends feels like the umpteenth trip to the same tired destination. A film whose spec script has been kicking around Hollywood for so long that…
The Old Ways is a mid-budget genre gem with a few tricks up its sleeve to keep these fresh. Possessions and exorcisms have been a…
He’s All That is a lazy, purely nostalgia-driven dud that rehashes without imagination or innovation. The very real nostalgia that exists for 1999’s She’s All…
Purple Sea is an arthouse trifle that merely effects the posture of serious cinema. In his 1975 book Notes on the Cinematographer, austere French director Robert…
Lily Topples the World is a visually spectacular documentary, one with the added benefit of ready cleverness in supply. Joining the ranks of Netflix’s We…
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…