United States
The Cry of Jazz does not waste energy or time, and in doing so it succeeds in breaking through with its considerable strength.
Fatman is an exhausting, vile, depressingly boring movie which might have been kinda funny as a skit or short.
Black Bear goes to such lengths to get across a mundane idea that even its lack of meaning is forgivable in light of its wild viewing experience.
In context to its insufferably self-congratulatory source, Hillbilly Elegy might be the least-bad adaptation one could hope for, for whatever that’s worth.
Ammonite is a cold, distant viewing that rewards the viewer in sporadic intervals, confident that it will find the right audience.
The 10 Year Plan is a traditional rom-com, it is not about coming out of the closet, it is just about two best friends who realize they’ve been in love.
An earnest and perceptive drama that deals with homelessness and mental illness in ways that inform and engage, Princess of the Row is a must-see indie.
Happiest Season is a holiday film that transcends a one size fits all, welcoming everyone home for the holidays.
If you’re going to watch this one, you might as well marathon the series with some buddies online while imbibing the adult beverage of your choice.
It is an innovative piece of work; it starts off intense and visceral until it takes a turn and becomes a tender, compassionate exploration of acceptance.
Honest with its subject matter, Uncle Frank is a very conventional drama where something topical in the 1970s is still relevant today.
The Sounding is a tribute to William Shakespeare first and foremost, though that adoration often gets in the way of its storytelling.
In Dreamland, Margot Robbie is perfectly cast as a complex woman whose outlaw glamour belies her inner darkness.
The Climb is an exciting and robust debut from Michael Angelo Covino.
Let Him Go is both a period piece — though set in the 1950s, not the Old West — and also a tale pregnant with grief.