2020s
Carmentis never runs out of ways to use the subversive potential of the sci-fi genre to articulate the loneliness and disorientation that haunt the film’s main character.
The State of Texas vs. Melissa unfolds slowly, meticulously and with intent as you witness a cinematic investigation unfold.
Malik Vitthal’s Body Cam is a forbidding tale of revenge that comes at you with speciously righteous fury, and that fury lingers.
Through The Night is not just about a daycare, but about a broken system that forces parents to choose between their children and their livelihood.
Marcus Flemmings’ new feature Palindrome eludes narrative convention just as much as it eludes thematic coherence.
Dangerous Lies isn’t a terrible film. If you set your expectations appropriately, it can actually be an entertaining movie.
Picture a Scientist is the documentary we need to continue the call for action, to continue awareness, and to remind those who would abuse a system, we see you.
Death of Nintendo doesn’t aspire to break any creative ceilings, but does perfectly fine within its own creative sandbox.
Unfocused to the core, Capone will leave viewers with more questions than answers.
Castle In The Ground is undeniably effective in its portrayal of the opioid crisis, but loses itself in its hopeless narrative. Maria Lattila reviews.
We delve further into the HBO film Bad Education, discussing further its themes of greed and altruism in the media.
From the top-notch performances and Alice Birch’s honest writings, every aspect in Normal People is brilliantly crafted.
Blood and Money is so content to occupy the safe middle ground without ever doing anything of interest, that it feels like a heartless exercise.
Faith Based isn’t the funniest film you’ll sit through this year, though it might get you through a lazy Sunday with a few laughs.
Spaceship Earth is a colossal bore, a failure of documentary filmmaking.