2017
The Current War builds upon a solid narrative foundation by richly transporting the viewer to a pivotal and prescient time for humankind.
Tigers Are Not Afraid is a standout film beneath the phantasmagorical flourishes is a story that is all too grounded in reality.
Where the company has become an auteur-like entity synonymous with good, cheap thrills, The Keeping Hours just isn’t scary enough to live up to Blumhouse’s horror brand.
Heady problems My Days of Mercy’s characters through the wringer, but the clarity with which they are captured makes the difficult journey more poignant.
A beautifully poignant piece, Princess Cyd is a breezy treatment of sexuality, spirituality and women’s relationships in lieu of drama for drama’s sake.
Three Peaks transforms the emotional labor of building a family, slowly building to a conclusion that feels both inevitable and horrifying.
Tater Tot & Patton doesn’t play by those rules. Instead, we are given an odd, slow burn with endearing performances and a lesson to be learned.
Long Time Coming is a deep heartfelt documentary displaying a world where MLB baseball was meant to reflect our society, yet proved a curious paradox.
While episode 2 nearly gave us whiplash, “Muninn” feels like a more controlled look at the different characters in the vast expanse of this universe.
After a 2 year hiatus, American Gods returns to form bring back element sof the show viewers fell in love with as well as giving room for others to shine.
The Last Walk, a short film by Anna Hoover, is a heartbreaking, but beautiful tribute to the land for which it captures.
A mature, eerie, and effective coming-of-age story, The Changeover is a definite standout when it comes to young adult films.
Lady Bird is one of the best modern coming of age stories, but the greatness likely stems from the small scenes many audiences might miss.
Mektoub My Love is one of the most self indulgent films in recent memory, with the threat of a sequel likely to kill off the director’s career altogether.
Before We Vanish is always working in two dimensions at the same time: it’s gross and funny, incisive as a work of modern commentary and blunt as a dozen hammers.
