2010s
Though not a fully-realized film, Motherless Brooklyn shows some promise, with an impressive neo-noir style and an admirable takeaway.
We “listen in” on a conversation between huge Cabin In The Woods fans, Clement Tyler Obropta and Karen Pinilla as they look back on Drew Goddard’s 2011 horror.
The Kingmaker offers a really fascinating look at one of the most arresting political figures in recent history.
Western Stars isn’t going to break the music documentary mold, but if you’re a Springsteen fan, you should find plenty to love about it.
Sorry We Missed You is not without faults, but it is a vital look at the hardships faced day in, day out by families all over the UK.
Ira Sachs’ Frankie has Isabelle Huppert in the titular role confronting her own mortality through a cancer diagnosis and on a ticking clock.
The Report is deserving of every ounce of praise it receives on its performances, accuracy, and commentary, but getting through the film is a bit of a slog.
The world of filmmaking seems simple enough from the view of an audience, while Twitter…
Her name sounded so familiar. I tried to jog my memory and dig into the…
Wounds is a work of unyielding dread – one of those misunderstood gems that comes along every so often, catching you off-guard with its skin-crawling concept and arcane atmosphere.
Ready or Not heralds the arrival of a fantastic talent in Samara Weaving, as well as directors Matt Bettinelli-Olpin and Tyler Gillett.
While it does contain so interesting moments to keep you attention, The King is not worthy starting in the first place.
Harriet is a formulaic biopic that doesn’t take any creatively clever leaps to ensure this biopic deserves to be associated with the historical significance of Harriet Tubman.
Suleiman’s It Must Be Heaven balances wit and amusement with a melancholic, maybe even unfulfilled, sense of belonging.
Countdown is not aggressively terrible, but it’s life-threateningly dull.