United States
If there is one film you see this holiday season, make it Lez Bomb. It’s a modern and hilarious take on coming out, during one of the most hectic and family oriented holidays of the year.
Widows is a thrilling, satisfying and breathtaking experience that toys with the conventions of the genre while bringing enough depth and surprises of its own.
Monster Party is a quick, gory horror romp with a modern sensibility. It’s undoubtedly a bloody good time.
Dark Money does provide some hope, but the film falls short in helping the viewer to understand how he/she can be empowered to make a difference.
Although it’ll be overshadowed by The Hate U Give, River Runs Red is an important film. The themes it explores make it a vital piece of social commentary.
Clunky and at times, confusing, Here and Now fails to give Sarah Jessica Parker the chance to dive deep into herself and give the emotional performance she was hoping for.
In part three of our Tokyo International Film Festival coverage, we discuss a retrospective on the comedy classic Some Like it Hot.
The horror of the unknown, the horror of David, the horror of The Guest, all trace back to the simple question the film asks us and then leaves to fester: “Who is David Collins?”
The original A Star is Born remains a triumph, a powerful romance and an engaging look at the Hollywood of the era.
Created by Mark Dennis and Ben Foster, Time Trap is a sci-fi/fantasy that starts with an interesting concept, yet turns into a jumbled mess of its own doing.
A wry, bittersweet but profoundly affecting cinematic experience, Can You Ever Forgive Me? is an astonishing examination of loneliness and detachment.
There is much to admire about The Sisters Brothers; the powerful performances, the beautiful cinematography, and the statement on violence in the Old West.
Hilarious, formally impeccable and necessarily provocative, Bodied may well be the greatest hip-hop movie ever made.
The Super has the occasional moment of great horror filmmaking – but not enough to make it a super film.
Although Wunderland purports to be a sincere tribute to a real event, it never finds the time to say or suggest anything about war, courage, or death.