The Takedown is inoffensive as a buddy cop comedy, but runs into trouble with its reductive neoliberal political invocations. Louis Leterrier’s The Takedown, a sequel…
Like A Rolling Stone excels in conveying a vivid sense of the flesh-and-blood human behind the venerated byline. Ben Fong-Torres, the celebrated music journalist profiled in…
Bubble is an altogether gentler anime product for Araki, aiming for the emotional stakes of films like Your Name, but is slight to the point of…
The only choice to make regarding Choose or Die is to choose not to watch this lazy, unintelligible bit of horror rehash. New Netflix horror flick Choose…
Metal Lords blunders plenty, but its blend of heavy metal and heavy feels makes for an imperfect but heartfelt affair. New Netflix film Metal Lords opens…
The Bubble is a self-indulgent, unfunny mess of a film that continues Apatow’s sharp artistic decline. Few modern comedies have been as self-indulgent, unfunny, strangely dated,…
Apollo 10 ½ is another wonderful work of melancholic yesteryear from cinema’s foremost purveyor of childhood nostalgia. Apollo 10 ½: A Space Age Childhood finds writer-director…
Windfall doesn’t have much depth but works quite well as a slick and playful noir trifle. Filmmaker Charlie McDowell has established a flair for filtering the…
Black Crab is a mishmash of apocalyptic signifiers and sci-fi recency without ever establishing much of a core. The world has ended a few times over…
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…
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…
Texas Chainsaw Massacre is yet another forgettable series entry, distinguished only by its lame attempts at social relevancy. When David Gordon Green revived Laurie Strode…
jeen-yuhs is a harrowing, deeply personal look at Kanye’s early years, celebrating the genius of both an artist and those who helped him build his…
Bigbug is all bug and no feature, an obnoxious, puerile work of catastrophic indulgence from Jean-Pierre Jeunet. Much has been made of the fact that,…
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…
The House isn’t quite a home, its neat little anthology package coming too much untied in a miscalculated final leg. The latest in Netflix’s endless stream…
Brazen is slickly made, but it’s otherwise firmly rooted in ’80s Lifetime thriller territory. As a title, Brazen sounds a little old-fashioned, a promise of titillation…
The Lost Daughter doesn’t quite manage its own distinct cinematic voice, but still proves Gyllenhaal to be a director worth keeping up with going forward. While…
The Hand of God is a softer but no more subdued effort from Sorrentino, still rife with flourish but with a more personal core than ever…
Don’t Look Up is Adam McKay’s latest po-faced, celebrity-stuffed foray into unfunny finger-wagging and condescension. There’s a curious combativeness to the recent works of Adam McKay,…
The Flight Before Christmas is another inventive, droll effort from the Aardman team, imbuing their familiar stylings with a little misty-eyed holiday cheer. One might be…