United States
The Man with the Golden Arm’s outlawed aesthetic and spirit make it a tangible and lasting achievement.
Violence is key to the narrative of Grosse Pointe Blank, and it forces Martin Blank to contend with who he was and who he has become.
At 83 minutes long, Driveways is a mini marvel because it appears so slight yet bears manifold treasures.
Central Park, as a show, goes down like a Manhattan. Straight-up and smooth and quintessentially New York.
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.
Throughout its limited run, The Eddy is a stylistic and emotional success. Any shots at true greatness, however, are hampered by some persistent narrative frailties.
We delve further into the HBO film Bad Education, discussing further its themes of greed and altruism in the media.
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.
As the 40th anniversary of The Shining nears, we have watched and ranked all of Stanley Kubrick’s theatrical releases.
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.
We spoke with Brea Grant, writer/director of 12 Hour Shift, about the movie and her creative decisions, collaborations, and inspirations.
Quite beautifully, Lorelei turns this redemption tale into one of the sweetest on-screen portrayals of fatherhood.
Alice Wu’s The Half Of It is a tender teen romance and a nuanced take on sexuality and friendship. Andrew Stover reviews.