Film Reviews
Death of Nintendo doesn’t aspire to break any creative ceilings, but does perfectly fine within its own creative sandbox.
The Man with the Golden Arm’s outlawed aesthetic and spirit make it a tangible and lasting achievement.
At 83 minutes long, Driveways is a mini marvel because it appears so slight yet bears manifold treasures.
Transnistria is a rare gem, straddling documentary and drama to allow an intimate look at a relic of a past time.
Unfocused to the core, Capone will leave viewers with more questions than answers.
Neon Bull employs the unique routine of rodeos to approach – and subvert – gender stereotypes.
Alice is a film that should enlighten anybody, because it’s about society as much as it is about Alice herself.
Castle In The Ground is undeniably effective in its portrayal of the opioid crisis, but loses itself in its hopeless narrative. Maria Lattila reviews.
The Wolf House uses stop-motion animation to render the world inside the titular house as an ever-evolving nightmare, and is completely immersive despite its freakiness.
Blood and Money is so content to occupy the safe middle ground without ever doing anything of interest, that it feels like a heartless exercise.
From Murnau’s inventive visual storytelling to Jannings’ wonderful performance, The Last Laugh is the perfect film to begin one’s journey into the world of Weimar cinema.
Faith Based isn’t the funniest film you’ll sit through this year, though it might get you through a lazy Sunday with a few laughs.
Spaceship Earth is a colossal bore, a failure of documentary filmmaking.
We spoke with Brea Grant, writer/director of 12 Hour Shift, about the movie and her creative decisions, collaborations, and inspirations.
Quite beautifully, Lorelei turns this redemption tale into one of the sweetest on-screen portrayals of fatherhood.