Film Reviews
In our second review from SXSW 2019, Hazem Fahmy reviews The Beach Bum – a fantasy with no real-life application.
After an enormously successful debut with Get Out, Jordan Peele delivers another bold film with Us, and seems to be creating a whole new genre.
Everybody Knows may be a little overlong, but it’s frequently compelling due to a powerhouse performance by Penélope Cruz.
In Video Dispatches we cover recent home video releases. This week, My Name is Julia Ross (1945), So Dark the Night (1946), and Mikey And Nicky (1976).
When it comes down to it, you’ve seen this type of movie before, but rarely with this setting and with people from this part of the world.
Giant Little Ones, directed by Keith Behrman, explores new territory in the teenage “coming out” film genre and it’s a refreshing, welcomed addition.
Rocking the Couch charts 100 years of abuse claims in the film industry, asking how far Hollywood has come since the silent era.
With much unknown still remaining this season on Riverdale, especially in the wake of a lost cast member, all we can do is hold on and wait.
All Is True fails to really justify itself: it’s a patchwork of ideas that never really coalesces confidently.
The Last Walk, a short film by Anna Hoover, is a heartbreaking, but beautiful tribute to the land for which it captures.
Female Human Animal is a unique experiment into pushing the boundaries of what is considered to be fact or fiction.
Level 16 is an excellent short film trapped inside a pretty good full-length feature. Its shortcomings hurt its long-term impact.
More of a Meh-vel than a Marvel, but this first Captain Marvel film gives hope for stronger sequels in the future.
The Wandering Earth may seem like one small step in the eyes of Western moviegoers, but it is one giant leap for Chinese cinema.
Everything about Leaving Neverland is designed to be uncomfortable, from the running time to the connection between the viewer and the film’s subjects.