It’s films like Angel’s Egg that make the critic feel like a charlatan, aimlessly looking for patterns in the entrails.
A small town police station becomes the unlikely battleground between a professional hitman, a smart female rookie cop and a double crossing conman.
Homeroom is empowering and it is inspiring, bringing a fresh perspective to the events of 2020 and to the future.
The film flounders in its overly long crawl but makes up for it in a repulsive final twist.
Equal parts fantastic and frustrating, Ema soars sky-high but cannot maintain those heights over the course of the film.
A one-time rodeo star and washed-up horse breeder, in 1978, takes a job from an ex-boss to bring the man’s young son home and away from his alcoholic mom.
While it is less gory, especially in the film’s conclusion, it leaves a twist and an ending that speaks to the possibility of more films to come.
After she’s irreversibly poisoned, a ruthless criminal operative has less than 24 hours to exact revenge on her enemies.
This week Blake and Joe end their look at the films of Grosse Pointe Blank director George Armitage with the very bad movie: The Big Bounce.
Not everyone will be won over by the weirdness of Annette, but for those who are, they will absolutely love it.
Politically charged and historically conscious, Chris Marker’s fertile imagination makes him one of the cinema’s most transcendent artists.
Under the Volcano chronicles the life of “Fifth Beatle” Sir George Martin’s secret recording studio in the Caribbean.
This week, Jesse is joined by Mark Marousis to discuss James Gunn’s The Suicide Squad.
A card shark encounters an angry young man who’s seeking revenge against a military colonel.
Naked Singularity tries to connect the legal and sci-fi elements of its story but ends up not quite capturing either aspect of the film.