Moonfall is big, dumb, exuberant fun and a welcome blockbuster-sized tonic from the endless IP regurgitation clogging theaters. Who’s ready for another disasterpiece from the…
Like so much recent horror, Slapface relies too heavily on soft metaphor, but there’s sufficient talent here to still keep things interesting. Jeremiah Kipp’s Slapface…
Jackass Forever manages to once again up the ante, delivering not just the series’ best entry, but one of the most truly cinematic films in…
Erudite and playful and moving, The Worst Person in the World is brimming with ideas and feeling, and executed with the touch of a master storyteller. First…
Black Medusa is cast with a certain austere beauty, but is an otherwise empty exercise in bland, utilitarian form. In a thankless role as one of…
Home Team is roughly as awful a film as Sean Payton seems to be a human based on this deflective vanity project. Sean Payton, head coach…
Compartment No. 6 is a gentle, moving romance that understands the benefit of languor rather than compression in establishing human connection. Single lodgings in a two-seater…
The King’s Daughter is a would-be pop confection that would have been stale even if it hadn’t sat on shelves for nearly a decade. The…
The Tiger Rising falls flat on its face. Despite a title that would seem to suggest some kind of magic-tinged narrative, The Tiger Rising is…
The Free Fall fails to balance camp, horror, and thriller in any meaningful and engaging way. Five years after his debut as a co-director of…
Stoker Hills is Exhibits A, B, and C in the case against modern found-footage films. Director Benjamin Louis’s thriller Stoker Hills opens in an anonymous…
Rifkin’s Festival isn’t necessarily major Allen, but it’s a light romp that exists at a fascinating nexus of the director’s career-long pursuits and predilections. There’s a…
There’s plenty of aesthetic polish to Futura, but it’s largely mitigated by the bland, reductive didacticism at its aging core. “How do you do, fellow…
There Will Be No More Night is an intelligent, nightmarish portrait of war as first-person shooter and interrogation of how we consume visual information in our…
Brighton 4th is but the latest example of festival-facing cinema slipping into anonymity under the weight of overly familiarly elements and arcs. There’s a scene midway…
Sundown finds Franco up to his usual tricks, offering some appeal in his refusal of convention, but little more. Sort of the self-styled bad boy of…
Katz’s film is an understated, elliptical work that speaks volumes in its pointed quietude. Ana Katz’s The Dog Who Wouldn’t Be Quiet appears at first…
A Hero is Farhadi’s best work in a minute, still hampered by the director’s anonymous formal style, but otherwise delivering another masterful work of drama. Few…
The tame, backwards Sex Appeal has very little appeal indeed. New Hulu original Sex Appeal is tailor-made to be watched at sleepovers by undiscerning pretween girls looking…
Introduction bears a fitting title, as it feels like something distinctly new within Hong’s self-reflexive oeuvre. It’s somewhat reductive to observe that Hong Sang-soo, so…
The Last Thing Mary Saw is sedate bit of moody horror that takes an array of cinematic reference points and flattens them until there’s little…