Film Reviews
Mad God bursts and spews onto the scene in absolutely take-no-prisoners fashion and has steadily placed itself close to the top of the pile as one of the best movies of 2022.
Despite solid source material in George Saunders’ short story, Spiderhead is a visually inert misfire and one of director Joseph Kosinsky’s lesser works.
Rondo and Bob has moments of heart, but these moments are lost amid a sea of re-enactments that never quite land.
Combining found footage, family photographs, and Karim Ainouz’s own camerawork, Mariner of the Mountains is a brilliant mix of family history and origins.
The coming-of-age tale presented by Cocoon is not an idealized one that bears no resemblance to real life, but one that feels authentic in its pain and exhilaration.
The musical performances in Elvis will obviously be a major draw but the stellar performances make it all the more intoxicating.
“Long Live My Happy Head,” a new Scottish documentary directed by Austen McCowan and Will Hewitt, depicts Gordon Shaw’s art, life, and battle with cancer.
From the 2022 Sydney Film Festival, Alex Lines covers Jean Luc Herbulot’s Saloum and Emin Alper’s Burning Days.
One of my favorite times of the year is coming to a close. While I…
Spanning the release of her film Hustlers to her Superbowl Halftime performance, Amanda Micheli’s Halftime documents Jennifer Lopez.
With her second report, Kristy Strouse covers Cherry and Next Exit!
Acid Test has its moments of realistic, memorable coming-of-age storytelling even if the film’s stories don’t always blend.
Fear and paranoia are the perfect catalysts for mass panic in Natalia Sinelnikova’s We Might As Well Be Dead.
Lightyear may not offer the same emotional depth or richness as other Pixar titles, but it knows it never needed to be that.
Despite its humorous undertones, Christos Nikou’s Apples can’t overcome a frustratingly muted and opaque style.