2018
Certainly an ode to Jay Maisel’s life and career, Jay Myself is a celebration, remembering the life and work he created in The Bank.
Blue Note Records: Beyond the Notes is eager to encompass all of what makes Blue Note so special while offering the barest amount of context to bring in the uninitiated.
By presenting a comedy with the formal elements of a slasher, Camp Wedding fails to be interesting or entertaining within either genre.
Surrealist comedy Nothing Really Matters involves nightmarish imagery and brimming uncertainty that makes you think of a David Lynch movie.
Queer Eye continues to focus on self-care and embracing change, reminding its participants and audiences about the importance of acceptance of oneself and of others.
Stuck is a fun comedy about a woman trying to do good but getting side-tracked by her habits and her past.
Delirium is interesting enough to warrant our attention, but ultimately the route to the big “reveal” veers off course.
Ash Is Purest White is a masterpiece of time and alienation. Aaron Berry examines the ways time affects the characters.
Vital and essential viewing, Undercover In The Alt-Right has the potential to lead people more actively onto the side of peace, acceptance, and compassion.
Skin manages a few gripping moments thanks to its cast but can’t string them together into something meaningful.
Ladyworld manages to capture the perfect balance between the moments of tension and uneasiness with moments of teenage life.
Romanian film I Do Not Care If We Go Down In History as Barbarians makes a bold statement about power and violence without resorting to fighting fire with fire.
A Faithful Man is a charming farce that only the French could pull off, combining all of the best elements of vintage romances with a thoroughly modern take on gender roles.
While Luz has all of the trappings of a horror film of yesteryear, it is clear that Tilman Singer is an exciting new filmmaker to watch.