2020s
Half-baked and poorly executed, Project Power is a big-budget, overly ambitious feature that does nothing but let you down.
While delivering an updated depiction of the inventor, Tesla falters in its attempt to deliver the true brilliance of Nikola Tesla.
While Uncle Peckerhead kind of falls apart at the end with too many twists, the journey is worth taking despite its destination.
Spree is an exceptionally fun time that serves as a chilling satire on the impact social media has on society.
The triumph of The Columnist goes beyond an intimate understanding of the problems of the digital age, to a solid grasp on how that culture makes monsters.
While reluctant to dive deeper into the effects of violence in the media, Random Acts of Violence offers plenty of fun to make it unmissable.
As a follow-up to 2008’s Mental, Zero offers a pleasantly intimate but never intrusive portrait of the life of Dr. Masatomo Yamamoto.
Princess Rita is a film of subtle contrasts that distracts from a storyline that could easily be told as a cautionary tale of internet naivety.
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.