Magnolia Pictures
The “time loop” is a sci-fi cliché as old as the genre itself, but “Omni Loop” tries to put a new spin on the genre.
The Convert is a movie quaking with trauma and suffering.
The prevailing refrain of Thelma is how it supersedes expectations in all manner of ways.
With Bad Luck Banging or Loony Porn, director Radu Jude seeks to expose the hypocrisy inherent in those who find sex obscene.
A Glitch in the Matrix is an engrossing feature that looks and feels unlike anything else out there in any genre or style in filmmaking.
Pivoting from steely resolve to emotional profundity, the brilliant evolution in its final moments cements The Whistlers as an unconventionally thoughtful experience.
The story isn’t particularly revelatory, but the idiosyncratic humor and Zoey Deutch make Buffaloed a fun film.
By establishing a web of interesting plot threads, and failing to engage with any of them in a memorable way, Little Joe ends up feeling like a severe missed opportunity.
Dogman stands as a uniquely moving viewing experience, reinvigorating a film movement that otherwise might seem obsolete or outdated.
Aniara is a gorgeous sci-fi tale, that excels in worldbuilding and making the most of its budget. Brent Goldman reviews.
Hail, Satan? neatly fits in with a series of recent documentaries that do little more than preach to the liberal choir.
Despite its many flaws and shortcomings, The Body At Brighton Rock is enjoyable when taken as a cheap comedy with some high tension moments.
The Quake repeats a lot of the same beats from The Wave, assuming it’ll be another sure-fire success – but it leads to a mild case of sequelitis.
The Story of Roger Ailes may be straightforward and a bit lacking in stylistic direction, but it’s a rather necessary look at one man’s life to help understand today’s politics.
The Last Race is a beautiful documentary that is, able to move between overtly stylized and ethnographic motifs while still remaining a unified piece.