comedy
As one of his final curtain calls, Limelight is a sterling reminder of Charlie Chaplin’s contributions to culture and the art of cinema.
Wilson is as gleefully profane and heart-wrenchingly tragic film, that lives up to its creator’s legacy as a storyteller.
Wasted characters, little humor, and lackluster action scenes make CHiPs a rather bland adaptation of the famous TV series.
Free Fire may be far from the best movie of the year, but you are guaranteed to have one of your most fun times at the movies when checking out Wheatley’s latest.
An independently-funded film that is a delightful homage to ’90s romantic comedies, Non-Transferable is a hopeful sign of cinema to come.
Robert Klein Still Can’t Stop His Leg is a loving insight into the world of influential but sadly unknown stand-up comedian Robert Klein.
Exploring the role of animated sequels such as Toy Story and Trolls as either worthwhile tales or money making schemes.
The Last Word is an easy, funny watch, with great performances from MacLaine and Seyfried, but on the whole, isn’t very substantial.
Don’t Kill It is a throwback to 1980s horror, in addition to updating some of the rather outdated tropes found in those types of films.
Instantly captivating and undeniably intriguing, Get Out may be the “diamond in the rough” film of the year.
Collide is a film that has talent in front of the camera, but they’re wasted through strings of mindless action and laughably poor dialogue.
I Don’t Feel at Home in This World Anymore is a dark comedy that explores timely subjects of loss of protection and fear, in an effective way.
The right to die debate is treated with great dignity in Youth in Oregon, which is also buoyed by Frank Langella’s sensitive performance.
London Town is a fictional story about a boy in 1970s London meeting up with his music idol, Joe Strummer; it is a mostly entertaining romp.
Between three men and a coterie of animals, Uncertain tells a richly rewarding story around the primal themes of death, birth and rebirth.