United States
It was a minor miracle, and in great part attributable to Van Peebles, that Watermelon Man turned into such a masterpiece.
What we’re given is far more surface-level than it should be, and unfortunately doesn’t add as much to the conversation as it perhaps thinks it does.
I Care A Lot suffers from a tonal shift, is still prevalent enough that the film is entertaining and enlightening all the way through.
The Vigil finds success in its intricate and delicate layering of its narrative, giving time for viewers to digest each tidbit given.
Brivik spoke with Film Inquiry about his involvement in Wild Indian during its premiere at the 2021 edition of the Sundance Film Festival.
Queerly Ever After #46 analyzes 2015’s Akron, where two young men find love despite a tragedy that links their families together.
While Alice Fades Away maintains your attention, there is a certain spark missing throughout its core, leaving it enjoyable but far from memorable.
Wilson Kwong spoke with Natalie Chao at the 2021 Sundance Film Festival about her documentary To Know Her.
With a lack of investment in its central character and a lackluster execution, The Night is a film not likely to see the dawn.
Another Earth, Mike Cahill’s sci-fi romance celebrating its tenth anniversary, is multifaceted and deeply layered.
Sex, Drugs & Bicycles allows us Americans to consider cruelties within our system that we have come to accept as the status quo.
A wild and wacky comedy with bold splashes of the fantastical, Barb and Star Go to Vista Del Mar is the vacation from reality we all need and deserve.
Judas and the Black Messiah is a nuanced film that slowly peels back its layers, revealing a depth that will resonate for years to come.
There are few surprises to be had in Fatale, a film bloated with talent but which lacks the chops to make good use of it.
Despite its conventional, problematic, and at-times tedious first half, The Map of Tiny Perfect Things finds its footing delivery emotionally rewarding.