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…
Gunpowder Milkshake is a dog of a film, utterly derivative and lacking in any recommendable action spectacle. Take the weird mythology of the Johns Wick, the…
The Call’s throwback vibes don’t do much to add to its predictable style and lack of notable scares. Arriving on the heels of the Fear…
The Halt is another epic and epically long Lav Diaz effort, one that might be his most accessible work yet. When dealing with Lav Diaz,…
Fear Street Part 2 improves on Part 1 in nearly every way, a slick slasher of high energy, genre play, and legitimate pathos. The second film in…
The Neutral Ground succeeds as both zippy, deadpan commentary and a moving personal document. With Juneteenth a newly-minted federal holiday, it’s a fitting opportunity to…
This first Fear Street entry suggests possible upward momentum for the trilogy, but disappoints as a slasher in its own right. There’s promise to Fear…
Good on Paper wittily upsets rom-com conventions, but doesn’t produce much substance beyond this initial fake-out. Following a string of stand-up specials and a sketch…
The Tomorrow War is pure sci-fi cribbing, a regurgitated and ungainly monstrosity without a single novel idea. What do you say about a movie like The…
America: The Motion Picture is a dopey, dated take-down of American exceptionalism that occasionally hits its target. America: The Motion Picture, the debut feature from Frisky…
Dynasty Warriors buries its littered, low-key strengths under a deluge of CGI nonsense. What does it mean to adapt the video game series Dynasty Warriors,…