2010s
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.
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.
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.
We review episode 5 of the third season of Killing Eve.
When compared to the previous three episodes, ‘Still Got It’ is by far the strongest installment of season three of Killing Eve.
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.
Kept Boy is neither so bad it’s good, nor is it endearing. It’s just a dull movie populated by unlikable characters.
Anchored by Sigurdsson’s striking performance, A White, White Day explores the aftermath of a life and a marriage with an intensely introspective eye.
The Grand Bizarre represents art at its most autocratic. It’s there in the imperfect stop-motion, in the spontaneous soundtrack, and yes, especially in the sneeze.
Fairytale is an interesting take on the story of a transgender woman’s transition, set against the backdrop of external threats of UFOs, communism and a picture-perfect 1950s setting.
Brilliantly crafted, Clementine will speak to a variety of audiences, giving messages of not only understanding, but hope.
The third episode of Killing Eve gives us a little hope that maybe there’s still some part of the show that can have a lot of fun despite its dark and bloody premise.
Antrum: The Deadliest Film Ever Made is an entertaining, but largely empty exercise in metanarrative and nostalgia.