2010s
With its timely statement about diversity in America, the bland and boring Bushwick fails to meet expectations.
Some of the lines in Person to Person may ring with a certain cliched timbre, but perhaps that should only be expected from a film that trades in tired New York stereotypes that are by their very nature familiar and inviting.
The Limehouse Golem finds ways to toy with you at every turn, making it entertaining viewing despite its seemingly conventional premise.
A dual character study, All The Rage benefits from its celebrity testimonies, candid interviews with Dr. Sarno, and Galinsky’s efficiency of substantiation.
Death Note has plenty of faults, but watched with the brain firmly in the “off” position, it becomes easy to enjoy – especially as it manages to feel more cartoonish than the anime it’s based on.
Final Portrait is filled with acute vigor, seamlessly-interwoven humor, impeccable historical accuracy, and superb acting that combine for another Tucci gem.
Icarus is a somewhat messy if also interesting look at the doping practices in Russian sports, with a director who gets in over his head.
Good Time is a fast-paced, oscillation of raw emotion and manic suspense that plays directly to Pattinson’s continually emerging thespian strengths.
Lady Macbeth pokes at the romanticized perspective of Victorian-set films, becoming more akin to a macabre neo-noir.
Despite a talented cast and crew, The Glass Castle ultimately fails as an adaptation of the famous memoir due to some questionable decisions.
Once Upon A Time In Venice is clearly a film made by cinephiles, but the scattered subplots and underdeveloped characters combine for an overall misfire.
Plotless, joyless and cash-grabbing, The Emoji Movie deserves the brunt of our wrath because it showcases everything wrong with Hollywood.
England Is Mine is a blend of fact and fiction, delving into the early life of The Smiths frontman Steven Morrissey.
Pilgrimage is rife with metaphors connecting the Dark Ages with contemporary issues, making us wonder if we’ve advanced as much as we think.
A Boy Called Po lacks a realistic exploration of autism, falling into common tropes surrounding the depiction of autism in Hollywood films.