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…
Proxima is a markedly incurious film, happy to diminish all complexity of its female protagonist. Alice Winocour’s Proxima is a film constructed around a single premise:…
Ava is a generic, poorly-shot, and utterly pointless entry into the female assassin subgenre. Tate Taylor must be the most charming man in the world. There’s…
Yes, God, Yes doesn’t say anything new about oppressive evangelical traditions but is elevated thanks to Dyer’s wonderful comic performance. Yes, God, Yes will be particularly…
Miss Juneteenth is a delicate, gentle film arriving at a defining moment in American discourse surrounding race. Miss Juneteenth, the debut directorial feature of Channing Godfrey…
The bourgeois Brooklyn of Alex Ross Perry’s Golden Exits is a “wasteland in the middle.” The film opens with an airplane flying away for somewhere else,…
Pivoting from the cerebral intensity of Queen of Earth — an Images, or Fassbinder, -like exteriorization of a woman’s mental breakdown — Alex Ross Perry’s latest is…