2022
What results is an engrossing, often painful, always warm portrait of the challenges of wanting to make art in a world hostile to the prospect.
Against All Enemies is surprising in the emotions its garners from its audience, always resolute to is overall message, but unafraid to listen.
Padre Pio leans into its politics and historical fealty; the spiritual aspects are heady, abstract, and dense.
A timeless coming-of-age tale told beautifully by Marcello and his collaborators, Scarlet is a cinematic treat for the eyes, the ears, and the heart.
Unidentified Objects is a fantastic love letter to road films.
While the lack of resolution is disappointing for the audience it doesn’t make The Night of the 12th any less powerful.
Marco Porsia excavates something special with the subject of his latest rock inspired documentary, What You Could Not Visualize.
Beyond the North Woods offers hope for local, micro budget filmmaking to reinvigorate even the most familiar of premises, turning content back into art.
If you aren’t already disenchanted with capitalism and the way it sucks people dry, then Unrest is here to help.
Goodnight Mommy is a decent horror vehicle, designed to entertain but lacking the stamina and direction to terrify.
The Plains, in its supposed mundanity and ritual, gives us the gift of time to really take in the cinematic image.
Ray Romano’s directorial debut Somewhere in Queens is a heartfelt story about family and going too far to protect those we love.
Through each other’s sympathetic eyes, in this winning, queer coming-of-age tale that still feels in a category all its own, two lonely women become queens.
While Beautiful Beings is well-intentioned and certainly emotionally resonant in parts, it stops short of having a lasting emotional effect.