Film Reviews
1917 is a vision of uninterrupted chaos, equipped with a unique blend of personal pathos and visual bravado.
There are plenty of reasons to recommend Wang Xiaoshuai’s So Long, My Son, but the greatness is infuriatingly just out of grasp.
Anya does its best to provoke you into forming an opinion about the importance of conserving insular cultures through complex, nuanced filmmaking.
Amanda Mazzillo rounds up the late night films with reviews of The Lodge, In Fabric, The King and Parasite from SCAD Savannah Film Festival.
The Plagiarists is peculiar, fairly self-reflexive, and laced with grueling yet equally as rewarding ambiguity that comes from the artists’ seat.
In a world that seems more divisive and hopeless everyday, A Beautiful Day In The Neighborhood is a beautiful film that anyone and everyone could and should see.
Better Days is a mostly earnest drama that plods through bullying, academic stress, murder and tragedy, retaining a fittingly bleak and dolorous tone.
For all its faults, Knives Out is a brisk and often engaging film that will provide audiences a moderately enjoyable ride.
Violence dehumanizes in many ways. It can do so overtly, presenting you with situations that…
Generic in all the worst ways, Animal Among Us is poorly executed, feeling like a throwback to the worst of mid 2000’s horror.
The Gallows Act II is full of bad jump scares, laughable dialogue and is never very scary. Kevin Lee reviews.
Amanda Mazzillo reviews the latest from the Savannah Film Festival, including Knives Out, Honey Boy, and The Truth.
Earthquake Bird is likely to be but a blip in the filmography of both its stars and director.
Klaus captures the old fashioned wonder of Christmas within the old fashioned splendor of traditional animation.
Between bad dialogue, acting that feels as undeveloped as the characters, and an unfocused story, it’s no wonder Midway feels like a drag.