Film Reviews
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.
In a time when women are breaking boundaries and recreating the ideas and perspectives of female characters, How to Build A Girl delivers just that.
Ema is not like any other film that has come out this year so far. Its celebration of female agency is like a fever dream — indescribable and euphoric.
Alice Wu’s The Half Of It is a tender teen romance and a nuanced take on sexuality and friendship. Andrew Stover reviews.
Working Man is a quiet debut from writer-director Robert Jury, but all the better for it. Lana Stanczak reviews.
Stephanie Archer reports on Tribeca Film Festival 2020 online, and reviews the animated short films curated by Whoopi Goldberg.
Knowing the legacy of the state Oklahoma, To The Stars turns what could have been a fairly run-of-the-mill coming of age story into a broader indictment of a state’s transcendent violence.
With Hearts & Bones being one of many bypassing a theatrical release and going straight to digital, let’s hope that those at home make time for this dignified drama.
A satisfying slice of sleaze served up on celluloid, Série Noire is a deliciously good watch.
Arkansas is beautifully constructed and represents its subject in every solitary element.
Vitalina Varela is a visually stunning film submerged in regret, remorse, anger, and in some ways a faint light of hope.
Anchored by Sigurdsson’s striking performance, A White, White Day explores the aftermath of a life and a marriage with an intensely introspective eye.
Cowboys is Anna Kerrigan’s delicate and modestly subversive take on the Western, in which a father violates his parole and pulls his son away from an unpleasant upbringing.