Bloody Oranges is late-’90s Tarantino knockoff adorned with finger-wagging political window dressing. Partway through alleged French comedy Bloody Oranges is an epigraph from Marxist philosopher Antonio Gramsci (yes,…
Spin Me Round Jeff Baena’s Spin Me Round, co-written with its star Alison Brie, sets out as a comedic take on the very Hollywood idea…
The Outfit is a glossy but empty prestige crime drama that mistakes convolution for compelling plotting. Early in The Outfit, our central protagonist, a mild-mannered tailor…
Ahed’s Knee is an expressionistic work of subjective ruptures and discontinuities that attempts to give complete satisfaction to human reason. If Nadav Lapid is a provocateur,…
The Shepherdess and the Seven Songs is a multilayered, intersectional films that resonates far beyond its humble, unassuming narrative. In the annals of films about nomadic…
Bitch Ass Slasher flick Bitch Ass opens with the one and only Tony Todd — yes, Candyman himself — as host of a seemingly low-rent…
The Adam Project takes the shape of any number of sci-fi adventure romps, but offers a surprisingly developed emotional core. It’s been quite a while since…
All My Friends Hate Me’s off-kilter framework is both a blessing and curse, but there’s an abrasive charm for those willing to play its uncomfortable…
Ultrasound is appealing in spurts but frustratingly sticks to a safe middle ground where it could have stood to be messier. Rob Schroeder’s Ultrasound exists on…
The Long Walk is an intricate and elegant work, sure to be one of the year’s best genre efforts and a remarkable calling card for director…
Feast exists in the liminal spaces between fact and fiction, a wholly original work that forces viewers to grapple with its themes in troubling, unexpected ways.…
Last Exit: Space engages in plenty of stimulating rhetoric, but its muddled tone and underwhelming visual aesthetic undermine much of its cinematic appeal. Given the endless…
The Seed offers plenty of gooey, gloopy genre fun, but is ultimately too scattershot and arrhythmically paced to fully recommend. There’s always room out there for…
Train Again is yet another bold, precise, and transcendental work from Peter Tscherkassky. As InRO contributor Brendan Nagle once observed, the image — 24 of them…
Turning Red is another Pixar dud that trades in cheap cribbing at the expense of real originality. Once an unimpeachable bastion of creativity and imagination,…
Fresh isn’t actually all that fresh. From a narrative perspective, Fresh is a nearly impossible film to write about without beelining straight to spoilers. There’s…
Dear Mr. Brody is powerful in spurts and conceived of in fascinating terms, but Maitland struggles to reconcile his disparate threads into a cohesive whole. Keith…
There’s an appealing, lulling rhythm to Kogonada’s second feature, but few of its philosophical inquires are met with worthy responses. There is much to savor…
Asking for It is a cheap and muddled affront to the women it seeks to foreground. Asking for It, the debut feature from writer-director Eamon O’Rourke,…
Great Freedom is a tender celebration of unconventionality, in all its complex and varied incarnations. Paragraph 175 was a provision of the German Criminal Code enacted…
A Madea Homecoming offers conclusive evidence that Perry’s work as a (melo)dramatist is, at this point, far superior to his comedic endeavors. With 47 directorial and…