Pixie delightfully channels Tarantino and Ritchie to playful, arch effect. After spending the last few years delivering stellar second-fiddle performances, Olivia Cooke steals the show…
Shoplifters of the World is bad enough that all it really accomplishes is a reminder of how great The Smiths were. Set in 1987, Stephen…
There are certain iconic questions in cinema history that have endured long after the credits roll. Who shot first, Han or Greedo? Did the…
Always and Forever is stretched a little thin and relies on too much filler, but remains a charming teenage rom-com and gracefully ends the trilogy.…
The Vigil isn’t without its minor grievances, but its willingness to navigate new horror territory is most welcome. Since the birth of the horror genre,…
Cowboys abandons nuance and meaningful exploration in favor of cheap sentimentalism and easy moralizing. Queer cinema has always (unfairly) had to walk a very fine…
I Blame Society is a cutting antihero showcase for director-star Gillian Wallace Horvat. Wickedly funny and sharp enough to draw blood, I Blame Society is…
The Sinners is bad enough one wishes it veered into absurdist fun. It doesn’t. As far as horror films go, there are a number of…
Dear Comrades! is a nuanced reckoning with Stalinist legacy and the lingering brutality left in his wake. Offering a solemn look at Soviet society in…
Of all the different horror sub-genres, the zombie flick is perhaps the one with the most innate spectacle. With a few obvious exceptions —…
Our Friend upends some familiar conventions of the terminal illness narrative, but also boasts plenty of missed opportunities. One of the things that can only…
The Dig is a gorgeous effort but entirely sidelines the fascinating psychological and emotional terrain implicit to its narrative. Every niche interest deserves its own…