United States
Corporate Animals by no means breaks the horror/comedy mold, but there’s some laughs to be had.
With standout and nuanced performances, Villains is one of the funniest horror films you will see in quite some time.
Unfortunately, Tall Girl takes the typical high school movie beats and fails to do much with them.
Carnival Row starts off slow and is hard to get invested to, but eventually pays off in some respects.
Hustlers won’t be loved by everybody, but as both entertainment and an addition to the world of crime cinema, it’s an exceptional work.
Freaks is a paranoid little picture, using its influences wisely while manufacturing something distinctive: one of the best Sci-fi’s of the year.
Alfred Hitchc*ck’s oft-forgotten The Trouble With Harry delightfully blends small-town Americana with his usual penchant for droll humor and the macabre.
The Giverny Document demands attention, and even if the attention it does receive ends up in the limited availability of a museum, the format cannot be more appropriate.
Waves is an exquisitely crafted piece of art that solidifies Shults as a force to be reckoned with.
Brittany Runs a Marathon is positively delightful, a rare comedy that doesn’t gloss over the often painful challenges one faces in changing one’s life for the better.
The Dark Crystal: Age of Resistance is the bold kind of fantasy that is more than welcome from the Henson studio in the 21st century.
Amy Schatz’s “In the Shadow of the Towers: Stuyvesant HIgh on 9/11” recounts the harrowing day through the eyes of high school students who saw it happen first hand.
Don’t Let Go sounds clever and mystical, but it’s a time-consuming thriller with alluring configuration and very little payoff.
I Trapped the Devil ultimately has just enough meat on its bones to stick with viewers willing to plunge into its grim, nightmarish world.
John Crowley’s adaptation of The Goldfinch lets down its source material and is, above it all, limp Oscar-bait.