2010s
Pet Sematary, in this critic’s opinion, is a constant battle between excessive production and exceptional performances.
Slut in a Good Way is an unapologetic celebration of first love, first heartbreak, and everything else that comes with being a teenage girl.
The first episode of What We Do In The Shadows is a macabre romp that remarkably adds and expounds upon the comedic elements of its filmic progenitor.
Dumbo is exhausted and erroneous, less concerned with a magical setting and more concerned with a macabre art-deco style.
Out of Blue can’t be faulted for its ambitions, but there’s a lack of focus, oscillating wildly between genres and never satisfying as any.
Despite the large questions it establishes at the onset, I’m Not Here offers no answers or satisfying catharsis.
Yes, God, Yes is a film you’d want to hug, where its authentic nature, lovable lead, and gentle director can win over anybody.
We Die Young has sporadic moments of action greatness, but feels overlong even with a brisk 90 minute runtime.
The Brink is a well-constructed documentary that offers a lucid view of how the Breitbart founder thinks and operates.
Spring Breakers may be much more profound of a film than initially thought, lucidly expressing our fascination with money and violence.
Alex Lines reports back from Alliance Française French Film Festival 2019 where he saw Olivier Assayas’ Non-Fiction – an increasingly rare type of drama.
With a premise filled with potential and talent both in front of and behind the screen, Captive State is an unfortunate disappointment.
The Browsing Effect is a movie that may appear shallow at first glance, but gradually reveals more hidden depths when you make the effort to look in further.
Donnybrook ends with a final battle for the ages. It’s just a shame that the road leading there is a miserable slog.
Good Boys is not for everyone, for it is messy and repetitive in what it’s doing, but it is also exceptionally funny, charming, and thoughtful.