We’re All Going to the World’s Fair is a bold, terrifying portrait of the Internet’s isolation/connection dichotomy. There’s something bracing about encountering a genuine oddity…
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…
Mother Schmuckers is sub-John Waters more-busting that fails to understand the essential appeal of its inspirational touchstone. American audiences encountering the Belgian gross-out comedy Mother…
Strawberry Mansion is a vision still worth experiencing, even as its muddled with an ill-considered screenplay rife with tired twee tropes. In 2017, Kentucker Audley…
Catch the Fair One doesn’t quite pull off its untidy ending, but it’s still an impressive bit of viscerally and emotionally pummeling cinema. Integrating the…
Woodlands Dark is exceedingly thoughtful and never less than riveting despite its length, a film destined to become an important work of criticism. In…
Poupelle of Chimney Town is appealingly bugnuts in bursts, but by the end, the Garbage Man isn’t the only thing here that stinks. At…
Mickey Reece makes idiosyncratic, uncategorizable films, chamber horror Agnes is his best film to date. Prolific Oklahoma underground filmmaker Mickey Reece is out there blowing up…
The Feast is a fine feature debut for Jones, building an effectively eerie tone and supporting it with lovely compositions and gnarly inserts. Lee Haven…
The Spine of Night is a grisly, singular work of nerdcore unorthodoxy that occasionally stumbles but manages to stay upright. The Spine of Night is…
Broadcast Signal Intrusion is built on used parts, but Gentry executes his vision with queasy dread and necessary ambiguity. Working late nights transferring tapes of…
Coming Home in the Dark isn’t breaking new ground and its ending is a bit too tidy, but it’s a film that feels genuinely dangerous…
Prisoners of the Ghostland is neither Sono nor Cage’s finest work, but it’s a good enough fix for those in need of either’s madman energy.…
Cryptozoo is both technically and thematically potent, but it’s the film’s third act which cements it as an exceptional and surprising animated work. In…
On the strength of Gunn’s outré humor and filmmaking sensibilities, The Suicide Squad is nothing less than the most enjoyable comic book flick in a…
The most interesting aspect of the new comedy Paul Dood’s Deadly Lunch Break is its unwieldy title, an attention-grabber that promises a rollicking good…
Fighter is that rare film able to work within a typically male framework — here, the underdog boxing flick — and translate it to…
King Car is more jester than royalty, a soft-bellied and derivative exercise in empty shock. New Brazilian feature Carro Rei (King Car) is aggressively weird,…