2019
When I heard that Logan Motherflipping Paul was making a Flat Earth documentary I dabbed…
Spring, the new animated short by writer/director/animator Andy Goralczyk, is truly a thing of beauty.
DaCosta makes a promising debut with Little Woods, showing an ambitious thematic depth while keeping the story affectingly small.
The Beach Bum is a love letter to the unlikely beauty found in the gutters of Florida, the artsy stoner comedy only Harmony Korine could concoct.
Sweet, charming, and beautifully unique, Laika’s latest film Missing Link deserves only the highest praise.
Marisol is an eye opening experience for the viewer, its intensity and visual representations resonating long after the short has ended.
Though with a premise that sounds intriguing, William is a curio taken in entirely the wrong direction.
Unicorn Store, Brie Larson’s directorial debut, marks the beginning of a new chapter in the multi-hyphenate’s career.
Nemes’ masterpiece Sunset ruminates on the cyclical ignorance of humanity to blistering effect, eliding our past faults, our present negligence and our future turmoil.
With a simple premise and gorgeously pared down visuals, Laundromat is a wonderful short that perfectly captures a tiny facet of the human experience.
Meme can be a brilliant thriller when it wants to be, but there is a heck of a lot of philosophising bridging those tenser moments.
Kent Jones’ Diane struggles to define itself as something more than an average, albeit thoughtful, indie film.
The Wind reverberates with an eerie tone, and though occasionally uneven, there is enough here to ultimately recommend it, especially for fans of Westerns or horror.
The Curse of La Llorona is not original enough to stand on its own, relying too intently on jumpscares and with not enough focus on the characters around them.
The latest adaptation of Stephen King’s Pet Sematary has some interesting new ideas, but it never quite reaches liftoff.