Flag Day’s aesthetic cribbing and histrionic character result in a floundering film that feels too desperate by half. The realm of biography occupies an uneasy…
If ever evidence was needed of art criticism’s role as a passing functionary in the workings of cultural amusement and consumption, one need look no…
Respect is a generic, overlong, unconvincing slog that’s disrespectful to the Queen of Soul’s legacy. When it comes to portraying pop culture icons known by millions…
“We get it — you’re different!” That’s what I’d say to Enid (Thora Birch), adopting the same cynical, ironic tone she applies to everything in…
How It Ends is the kind of pandemic-shot film that fails to capitalize on the novelty of its creation’s circumstance. New indie comedy How It…
Wrath of Man is a hybrid heist/revenge film that is pure fluff and littered with Ritchie idiosyncrasies, but also truly technically impressive. Posited: Guy Ritchie…
The Wolf of Snow Hollow is yet further, winning proof of Jim Cummings’ singular artistic voice. Much like his debut feature, 2018’s Thunder Road, director-writer-actor Jim…
Face the Music doesn’t possess the rambunctious energy of its predecessors, but is hopeful and good-natured in a way too few comedies achieve these days. Just…
A languid watercraft cruising the currents of the Hudson River. “Captain! Something off the port bow!” A rotten human arm floating in the distance. It…
Today marks the return of Walter Hill to the big screen—with the Sylvester Stallone-starring Bullet to the Head, the director’s first theatrically released film since 2002’s Undisputed. His…