Slalom is a raw and unpretentious study of trauma and the ways in which young women can wrest back control of their own course. The…
Held manages to best Cluff and Lofing’s The Gallows, but it still an abysmal, problematic, and tension-free failure. The new marriage-in-peril thriller Held comes courtesy…
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…
Funny Face works as genre deconstruction and cinema of a certain geography, but its attempts at explicit commentary are less successful. Tim Sutton is a…
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…
Nina Wu’s early patience and promise unfortunately gives way to a more sensationalized, ill-conceived study of trauma. Hailed as Taiwan’s answer to the #MeToo movement…
This is Not a Burial, It’s a Resurrection is a remarkable debut, a tonally complex and visually sumptuous marvel. Existing in a kind of liminal…
The Unholy is a jump scare-centric, heavy-handed horror slog with little atmosphere and even less mystery. Keeping the good old-fashioned huckster spirit alive, Sony’s genre imprint…
Godzilla vs. Kong isn’t a perfect film, but it features franchise-best VFX and links to Toho-era entries in its commitment to visual spectacle over narrative.…
Every Breath You Take is a derivative, cliché-riddled yawn that would be more at home on late-night cable than on theater screens. While its title…
Shiva Baby thrives as the kind of festival-circuit dramedy that overcomes the genre’s twee stigma thanks to its surprising restraint and refinement. North American film…
Honeydew is the latest effort to angle toward the elevated horror label without providing much substance to this framework. Premiering at the Nightstream Film Festival…
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…
Wojnarowicz is a powerful docu-bio that looks to celebrate the life and radical ethos of its eponymous trailblazer. At a time when queer art is more…
My Salinger Year is a gently romantic, old-fashioned love letter to literature and those irrevocably shaped by it. Philippe Falardeau’s My Salinger Year is the film…
The Vault offers plenty of slick, heisty fun, but is hampered a bit by some unfortunate, charisma-sucking casting choices. Best known as the writer and director…
Happily is heady, genuinely hilarious, and a work of impressive tonal balance from director BenDavid Grabinski. The law of diminishing returns dictates that, over time, optimal…
Exodus tantalizes with the possibility of incisive critique, but ultimately paints a fairly empty picture. Exodus, the debut feature by cinematographer-turned-director Logan Stone, is a peculiarly…