United States
A comedy with Haddish, Sumpter and Goldberg is a nice idea, but Nobody’s Fool soon makes you realize that you have been cat-fished.
While Creed II does not reach the fantastic heights of Creed, it still puts up plenty of fight to prove itself worthy.
Owing mostly to the funny duo of Mark Wahlberg and Rose Byrne, Instant Family somewhat succeeds, though its switch to full-out drama by the end is jarring, to say the least.
Newly reissued via Kino Lorber, screwball comedy Nothing Sacred and delicate domestic drama Made for Each Other show two sides of Carole Lombard.
Robin Hood seems to have a set of requirements to meet, and it gives the bare minimum when meeting them.
It is a shame when a movie like Hell Fest this is let down by the very reason for its existence – a slasher movie is only as strong as its slasher and the fear that slasher creates.
The Ballad of Buster Scruggs is some of the Coens’ best work: the storytelling is so delicate and precise, like a beautiful poem squeezed of every superfluous word.
Hanna Fidell and co-writer Carson Mell accomplished a feat rarely seen with The Long Dumb Road, a believable wacky comedy.
The Grief of Others examines how time can only heal wounds if we let it through intentionality and a sense of vulnerability that can be simultaneously scary and painful.
DriverX is a memorable character study, managing to capture the beauty of a city at night, while exploring generational differences and self-discovery.
A Bread Factory may be dispiriting, but it’s a vital reminder to preserve community spaces, and form connections with those who appreciate the arts.
Izzy Gets the Fuck Across Town is a fever pitch of impetuous energy with an extortionate fervor that matches Izzy’s note for note as she embarks on this most-unorthodox road trip.
Anchored by three brilliant central performances, Dragged Across Concrete is an interesting, unpredictable movie that zigs when we expect it to zag.
A Bread Factory is a sprawling epic with an intimate touch, which perfectly articulates why community art spaces are necessary in the modern world.
Director David Gleeson constructs a haunting but picturesque film with Don’t Go, a sci-fi about grief and loss.