Pinocchio is a fascinating late-period work from Zemeckis, one that takes in the full scope of his career as he wills us to believe in the…
Cousins’ latest The Story of Film entry largely trades in hyperbole, platitude, and bland observation, rendering it little more than a 150-minute trailer binge. For many…
Honk For Jesus’ plot is unevenly distributed and its tone a bit imbalanced, but it ultimately lands as a solid sendup of toxic church culture sold…
Master Gardener In hindsight, Paul Schrader’s career has been a repeated jettisoning and reappropriation of extraneous artiness, new off-kilter filmic shapes of inscrutable quality emerging…
The Cathedral is D’Ambrose’s portrait of the artist as a young man, a bracingly vigorous work and a precise survey of emotional turmoil. After a series…
Speak No Evil is a grueling experience in the best possible sense, punctuating by a giddily mean-spirited and pitch-perfect ending. Like an unholy amalgamation of Michael…
House of Darkness absolutely butchers its attempt at a female empowerment tale, landing somewhere between overtly offensive and appallingly stupid. It’s feast or famine when it…
One of the most enjoyable films presented in this year’s Crossroads Festival is also one of the shortest. In Object Permanence, Alix Blevins offers the…
In the first three days that doctors and patients were trapped inside Memorial Medical Center after Hurricane Katrina made landfall, the body count was around…
Dos Estaciones is packed with precise images and lensed with beautiful attention to color and mise en scène, but it fails to satisfactorily develop its ideas.…
Ozon’s frivolous Fassbinder homage doesn’t quite engrave much that is substantive or memorable. Rainer Werner Fassbinder’s tragically short and tormented life has been the subject…
I Came By is all superficial signaling, failing to build any actual substance, subtlety, or genre thrills into weightless construction. Babak Anvari is less a…
Saloum is an absolute blast, packed with pleasant genre surprises and announcing a major new filmmaker in Jean Luc Herbulot. Part of the joy of…
Who Invited Them visits well-worn territory, but its novel navigation of these familiar trappings makes for an effectively discomfiting viewing experience. The Covid pandemic and…
Outside Noise is an effortlessly accomplished work, unforced and moving toward an emotional spectrum out of the reach of most filmmakers. Ted Fendt’s body of…
ClayDream offers viewers a comprehensive account of a fascinating subsection of cinematic history. These days, animation is basically synonymous with the glossy phantasms churned out by…
The Immaculate Room is a poorly paced and thematically shallow film that bludgeons each and every one of its talking points to death. In premise alone,…
Wifelike is the type of science fiction with just enough thematic novelty to compel the viewer, but not enough to make for a satisfying experience. On…
Tin Can is the best kind of sci-fi, an equal mix of weirdo ideas and careful world-building that leads viewers to a genuinely unsettling conclusion.…
Maneater is confounding and viscerally dull take on the shark attack subgenre. The glut of shark-themed films airing on the SyFy Channel on a weekly basis…
The Invitation perhaps could have actually been surprising if marketing hadn’t spoiled its game, but there’s unfortunately not much else for viewers to have fun…