Death of a Telemarketer delivers some Lamorne Morris laughs but precious little else. Actor Lamorne Morris has made a career out of playing characters whose…
Mark, Mary & Other People’s narrow-minded treatment of open relationships would make for a fantastic double feature with any episode of The 700 Club. It’s fairly…
The Estate succeeds in delivering cult-ready laughs, but feels entirely superficial and neutered as satire. A designer-rags to even-more-riches fable from director James Kapner and writer/leading…
The Blazing World is a disarmingly charmless and amateurish series of indie genre check-boxes that amounts to a whole lot of nothing. With horror films in…
Wild Indian suggests a possible fascinating study that it doesn’t follow through on, but it does add enough wrinkles and character nuance to remain mostly compelling.…
The minor miracle of Playing God is that it somewhat works despite its obviously stupid conceit. One would be forgiven for mistaking the new con artist dramedy…
Stalker is a wonderful calling card for Savage, a director who understands both form and function of genre cinema. The new horror-thriller Stalker has much…
Near its end, Gully gives a glimpse of what a less maximalist, more successful version of itself would look like, but it comes too late.…
Akilla’s Escape is an unfortunate mishmash of cliché and amateurism, never quite clear what it wants to say or be. Akilla’s Escape begins with a…
Four Good Days occasionally flirts with authenticity and pathos, but is mostly content to crank up the melodrama and hammy acting to deadening effect. The…
Every Breath You Take is a derivative, cliché-riddled yawn that would be more at home on late-night cable than on theater screens. While its title…
The Devil Below is unfortunately hamstrung by its shoestring budget and liberal cribbing of better horror properties. Being a horror fan is sometimes like taking a…
Burn It All is a bona fide bit of exploitation trash, legitimately awful but enthralling in its sheer ineptitude. Contrary to popular belief, exploitation films are…
Body Brokers is littered with fascinating parts, but never manages to pull it all together into a cohesive vision. There are at least four different movies…
Music is a generic, offensive slog that co-opts ASD in service of bland musical pomp and an imbalanced plot. Pop songstress Sia titling her directorial debut…
American Skin is a smug, self-congratulatory vanity project that is sledgehammer-subtle and utterly depthless. Actor Nate Parker took the 2016 Sundance Film Festival by storm with…
Breaking Fast is a delicate, charming, and welcomingly chaste love story that features an old-fashioned appeal. The marketing materials for the new queer comedy Breaking Fast…
Shadow in the Cloud holds some promise in its early genre goings, but the second half reveals an unfortunate dearth of ideas and charm. It’s never…
SKYLIN3S is a wonderfully weird and wild addition to the Skyline series and a bright star of the DTV renaissance. Anybody clocking the original Skyline way…
The Giant is a textbook YMMV film: an audacious, elliptical fever dream that boasts a deeply affected style executed with a surprisingly sure hand. A dread…
Jungleland is a deeply familiar film that injects little energy or originality into its template narrative. Max Winkler’s Jungleland follows bare-knuckle boxer Lion (Jack O’Connell) and…