Space Jam 2 musters an engaging mid-film stretch, but it ultimately sinks under the weight of its overbearing corporate IP. Warner Brothers did their…
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,…
Escape Room: Tournament of Champions rides the same strengths of the original, resulting in a film that is a bit spare but still a feat…
Jacquot’s latest sticks to the directors strengths, mining poignancy from the inexplicable and beauteous. As erratic and eccentric as any new film by Benoît…
Die in a Gunfight isn’t the worst Romeo and Juliet adaptation on record, but it’s certainly not a good one. The last thing the…
The dull and ethically dubious Mama Weed fails to live up to the gonzo promise of its title. With a premise and (English language) title…
Meander is a dull and derivative dud that fails to deliver the requisite thrills or kills demanded of its genre. On a desolate stretch of…
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…
Pig isn’t the Nic Cage film you’re expecting — it’s better. It’s tough to recall a recent film — particularly outside the auteur context —…
Her Socialist Smile is yet another landmark work from Gianvito, more intimate than his usual but no less fiercely and formally intelligent. John Gianvito’s Vapor…
Roadrunner doesn’t revolutionize the portrait documentary, but it does execute its essential elements with pathos and formal precision. The late culinary connoisseur Anthony Bourdain…
The Halt is another epic and epically long Lav Diaz effort, one that might be his most accessible work yet. When dealing with Lav…
Like Blindspotting before it, Summertime is glib in its politics and hollow in its messaging. In one of the more telling recent Hollywood career leaps, L.A.-based music video…
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…
The Woman Who Ran continues Hong’s run of affecting personal exorcisms, here crafting a memorable protagonist who is equally mysterious and familiar. Hong Sang-soo’s excoriating…
The Witches of the Orient once again testifies to Faraut’s facility with crafting surprising, poignant sports docs with plenty of formal character. It’s exciting to…
Scales is an undeniably distinctive film, but one that doesn’t quite feel fully conceived or executed. Saudi Arabian director Shahad Ameen’s Scales was notable 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…