2019
There is not anything inherently wrong about Playing with Fire, you won’t be happy with the time you’ve spent in the theater.
There are shades of the director’s previous work, but The Irishman is like an amalgamation after decades behind the lens.
Oscar-winning producer Eva Orner crafts a portrait of manipulation that’s both engrossing and gross, a narrative more pertinent than ever in the era of the #MeToo and Time’s Up movements.
1917 is a vision of uninterrupted chaos, equipped with a unique blend of personal pathos and visual bravado.
There are plenty of reasons to recommend Wang Xiaoshuai’s So Long, My Son, but the greatness is infuriatingly just out of grasp.
Anya does its best to provoke you into forming an opinion about the importance of conserving insular cultures through complex, nuanced filmmaking.
Amanda Mazzillo rounds up the late night films with reviews of The Lodge, In Fabric, The King and Parasite from SCAD Savannah Film Festival.
The Plagiarists is peculiar, fairly self-reflexive, and laced with grueling yet equally as rewarding ambiguity that comes from the artists’ seat.
In a world that seems more divisive and hopeless everyday, A Beautiful Day In The Neighborhood is a beautiful film that anyone and everyone could and should see.
Better Days is a mostly earnest drama that plods through bullying, academic stress, murder and tragedy, retaining a fittingly bleak and dolorous tone.
While it does suffer from a few hiccups along the way, it finds its strength in its source material and its characters, cast and crew.
For all its faults, Knives Out is a brisk and often engaging film that will provide audiences a moderately enjoyable ride.
Violence dehumanizes in many ways. It can do so overtly, presenting you with situations that…
Generic in all the worst ways, Animal Among Us is poorly executed, feeling like a throwback to the worst of mid 2000’s horror.
The Gallows Act II is full of bad jump scares, laughable dialogue and is never very scary. Kevin Lee reviews.