The Power doesn’t hold a lot of mystery but thrives by situating its political and cultural critiques as blunt, horrific text. There’s something sinister lurking…
Mamade Claude isn’t much more than shallow period dress-up and empty provocation. Set, for the most part, in the final tumultuous years of the Swinging…
Concrete Cowboy features a pair of solid performances and a sleek visual design, but suffers under the weight of its paint-by-numbers approach to narrative. Set…
WeWork is somewhat limited in focus and doesn’t always plumb deeply, but remains an intermittently fascinating portrait of a conman and his grift. When applying…
Bad Trip fulfills its minimum obligation to produce a baseline number of laughs, and does very little else. Bad Trip is yet another casualty of…
Tina might not be as encompassing as some viewers might like, but the result is a moving, celebratory tribute doc all the same. One of the…
Violation is a stunning debut feature that matches its its thorny discourse with impeccable technical craft. Writer-director duo Madeleine Sims-Fewer and Dusty Mancinelli have been making…
For better or worse, Yes Day is essentially what you expect it to be: a sweet, sitcom-styled family comedy. The new Netflix family comedy Yes…
Sentinelle isn’t Leclercq’s best work, but it’s a gritty, nuts-and-bolts actioner in its own right. Netflix has a tendency to push a few high-profile titles every…
Moxie boasts a surprisingly lush visual design, but its soft script and weak character development leaves a lot to be desired. Adapted from Jennifer Mathieu’s 2017…
Sponge on the Run could have been a nostalgic charmer, but is instead little more than a bit of cheap brand marketing. After 22 years, Spongebob…
The Orphanage can be flat and predictable for stretches, but it also tilts its formalism toward a playful character enough to suggest Sadat is worth continuing…
Boss Level is dumb and familiar and, well, bad, but it also manages to inject enough consistent fun to keep it just barely afloat. Like an…
Lucky is a surprisingly substantive film, particularly given its slight runtime, but suffers from spoon-feeding viewers its messaging. A masked man breaks into the home of…
Despite its credibility and collaborators, I Got a Story to Tell doesn’t bring much new insight or verve to this latest treatment of Biggie’s life and…
The World’s a Little Blurry has plenty for die-hards to like and is welcomingly relaxed, but ultimately remains a pro forma exercise with little to recommend…
Cherry is a cartoonish failure of imagination, technique, and performance. Joe and Anthony Russo, the producer/directors who found themselves at the helm of the biggest studio…
Always and Forever is stretched a little thin and relies on too much filler, but remains a charming teenage rom-com and gracefully ends the trilogy. In…
The United States vs. Billie Holiday is a tonal misfire that fails to ever find the fascinating, complex story at its core. Lee Daniels has…
Curtis fans will know what they’re in for, as the director explores familiar themes, expertly utilizes archival footage, and drops needles to exhilarating, depressing effect.…
I Care a Lot is largely founded on cheap rhetoric, a film that hints at interesting ideas but which ultimately pulls its punches. Those searching for…