Film Reviews
A notorious box office flop, revisiting Waterworld today reveals a sturdy but middling treasure, as astonishing as it is underwhelming.
Spy Intervention doesn’t give much in terms of laughs, but a few moments, give life to an otherwise dull film.
Greyhound passes by as a monotonous series of skirmishes that never feel that threatening, even when boats are exploding around them.
We continue our 2020 coverage of the Melbourne Documentary Film Festival with two more reviews: Man on The Bus and Can Art Stop A Bullet?
While missing opportunities along the way, A Whisker Away makes up for it with its stunning original art and world of humanoid cats.
Exit Plan is a slow burn, but since its stakes are the choice of life and death, every moment is filled with empathy and intensity.
Gather In The Corner works well as a subtle satire on school safety, while also being a light-hearted watch.
Our coverage of the 2020 Sheffield Doc/Fest’s online program begins with reviews of We Have Boots, Flint, and Me and the Cult Leader.
Despite a satisfying ending, Amulet’s messy timeline and uneven pacing prevent it from reaching the greater heights that could have been.
Bloody Nose, Empty Pockets is an immersive experience to say the least. It’s a bold cinematic achievement and fine work of deception.
Mucho, Mucho Amor: The Legend of Walter Mercado felt like it was a documentary stuck between a rock and a hard place.
While The White Storm 2: Drug Lords is an entertaining piece of filmmaking, it just fails to engage in a way that its premise would have suggested.
The Fathering Project turns passion into poetry in the pursuit of finding what it means to be a father in today’s society.
Despite a potentially fun premise, Elvis from Outer Space does not quite capture the B-movie joy it appears to be chasing.
Chasing Dream has a lot of the trademark technical and narrative notes that seem fitting of a To-helmed Milkyway Image production.