Fullt Realized Humans is a half-realized film, awkwardly sliding between authenticity and sitcom superficiality. Bland but inoffensive, Joshua Leonard’s post-mumblecore rom-com Fully Realized Humans resembles…
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…
Not everything works in Sound of Violence, but its effective balancing act of authenticity and go-for-broke bonkers keeps things singing. Writer/director Alex Noyer intends the…
Grear Patterson’s debut leaves much to be desired in the portrayal of adolescence and budding identity. Set amidst the waning adolescence of two baseball…
Murder Bury Win is overlong and overconfident, with impressive technical aspects that can’t save a losing game. In building its story around three crowd-funding board…
Funny Face works as genre deconstruction and cinema of a certain geography, but its attempts at explicit commentary are less successful. Tim Sutton is…
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…
The Mimic is nothing more than an maddening ego flex that is far too confident in its own “brilliance.” The Mimic, from writer-director Thomas F.…
The Wanting Mare is a genuine CGI novelty, a delicate, low-key work of great sensitivity. More often than not, when one thinks of special effects…
Our Friend upends some familiar conventions of the terminal illness narrative, but also boasts plenty of missed opportunities. One of the things that can only…
Don’t Click is an outdated, ineptly made film in the running for Worst of the Year honors. In 1997, Michael Haneke unleashed Funny Games onto…
Vanguard worships at the feet of CGI and grievously wrongs the past and present of action cinema in the process. Stanley Tong was at best…