2020
With a memorable dual role from Seth Rogen, An American Pickle is intentionally illogical, tonally wacky, and surprisingly personal.
La Llorona, the latest from Jayro Bustamante, is a tonally audacious and proudly solemn horror film infused with transfixing political weight.
In all its easygoing, light entertainment, Whose Line is ideal quarantine comfort food.
Sputnik is a solid alien-driven thriller; it’s when it focuses on the more human elements to its story that it stumbles.
What We Found is a well-paced thriller that explores important issues while blending darker elements with a realistic and engaging friendship at its core.
Before/During/After blends a journey of self-discovery with an examination of marriage from start to the unexpected end.
I Used to Go Here is about far more than one could have hoped and imagined with a pleasant amount of consideration given to all its characters.
Amy Seimetz’s sophmore directorial effort is full of great performances, but never engages with the premise enough.
Made in Italy is a fine film to cozy up to, as long as you can overlook the awkwardness and lack of narrative development it presents at times to audiences.
Black Water: Abyss starts strong in its horror, but too quickly, the film devolves into a story of drama with a background of splashing water.
If you’re looking for a light, breezy movie to tide you over for a couple hours, Summerland will hit the spot.
Stateless sadly ends up robbing itself of an opportunity to be a show that is truly remarkable and also important.
With well-observed writing and phenomenal performances, Saint Frances is a revelatory character study that is equally funny and radical.
We attend a roundtable with director Natalie Erika James, cast members Robyn Nevin, Emily Mortimer, and Bella Heathcote to dive deeper into Relic.
Part documentary, part staged, and full of heart, this love letter to the five boroughs of New York City is an enjoyable, chaotic watch.