IFC Films
Ode to Joy doesn’t really work as either an efficient comedy or drama (or even a bit of both), with the familiar beats and tropes lacking in any real thought.
Despite the dwindling ending, Sword of Trust still manages please us with delightful and memorable performances from a talented cast.
Told from a female perspective, and benefitting from a seminal performance by Daisy Ridley, Ophelia rewrites history in a more favorable light.
Kent Jones’ Diane struggles to define itself as something more than an average, albeit thoughtful, indie film.
Donnybrook ends with a final battle for the ages. It’s just a shame that the road leading there is a miserable slog.
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.
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.
Anchored by a strong performance from Hermione Corfield, Rust Creek is a deceptively layered thriller that touches upon the horror in being a woman.
DriverX is a memorable character study, managing to capture the beauty of a city at night, while exploring generational differences and self-discovery.
Director David Gleeson constructs a haunting but picturesque film with Don’t Go, a sci-fi about grief and loss.
Wildlife, an intimate period piece, is an assured directorial debut driven by three stellar performances.
With an engaging but slightly sluggish story, fine acting, and a committed crew, The Catcher Was a Spy mostly succeeds as both a tense espionage film and a biopic.