2019
Fast cars. Squealing tires. Roaring engines. Screaming fans — are all nowhere to be found in this dull as dirt car racing snooze-fest.
While groundbreaking or original, The Aftermath is worth seeing for the enticing performances and striking ambience that it establishes.
Just when I thought coming-of-age fatigue is about to kick in, Booksmart overwhelms with its confident energy and wisdom.
Love, Death & Robots was intended for a very niche audience, and for them it’ll prove a masterfully-crafted acid trip that makes for a cathartic experience.
The Highwaymen is a well-intentioned Western drama that takes a new perspective on the Bonnie & Clyde mythology, but it needs another run at tightening the runtime.
The Kid, directed by Vincent D’Onofrio and written by Andrew Lanham, is a take on…
Ash is Purest White is a simmering, heartbreaking story of a connection that perseveres, for better or for worse.
The Art of Self-Defense is not only a must-see, it’s an easy contender for the best film of the year so far.
Apollo 11 is a visually outstanding and remarkably visceral piece of filmmaking that pieces the much fragmented and daunting narrative together.
The Day Shall Come is so cartoonish that it just doesn’t feel believable or possible, let alone historical fact.
While Dev Patel brings the best performance possible, it’s hard to root for any characters in The Wedding Guest, with a story that never really knows what it wants to be.
A pleasant surprise, Long Shot is an absolute must-see if you are a fan of Charlize Theron and Seth Rogen.
The Hole in the Ground is the rare film which would have benefited from being less subtlety and amping up the craziness to achieve the desired sense of unease.
Riverdale’s “Fire Walk With Me” was an episode of discovery – both of ones self and each other – hopefully proving there is strength in numbers.
Us embraces puzzling imagery and timing to evoke a sense of interpretative meaning, which leads to personal intimacy with the viewer.