2019
I Am the Night is a thrill ride that not only tells Fauna Hodel’s incredible story, but also pays homage to the LA noirs of the past.
Not only does Fyre tell an interesting story, but it tells it well; the whole ordeal is tense and hilarious in equal measure.
Glass may have been a film nineteen years in the making, but it feels superfluous and incredibly out of touch in a world littered with superhero films.
A thriller like Escape Room is a good time so long as you switch your brain to “just go with it” mode.
Close is frustratingly shallow, and in its breakneck pace leaves some of its character development in the dust, while trying to wring every bit of emotion out of its quieter moments.
A Dog’s Way Home is predictable but effective – although its cuteness does eventually outstay its welcome.
An Acceptable Loss opens with a big, burning question mark that hooks you, but rather than answering its core moral question, it simplifies the conversation.
Brexit: The Uncivil War tells you nothing you wouldn’t already know from almost three years of news coverage and counting.
Writer/director Melissa B. Miller Costanzo’s feature debut touches on the complex nature of relationships with a stunning visual eye, resulting in a thought-provoking journey into the ill-defined nature of transitioning into adulthood.
Blood Bound is a good film to watch if you’re looking for 98-minutes of chuckles and seat-squirming, but you’ll still be abundantly aware that it could’ve been a whole lot more.
The Upside is occasionally funny and charming, but mostly wastes the talent of those involved, becoming a lackluster remake of the French film.
Much like the eponymous letters, The Aspern Papers is not worth divulging the contents of and would be better off remaining a secret.
Followed, with its contrived shaky ghosts and shoddy script, is the millennial’s answer to The Shining and 1408, without the compelling stories.