United States
Lost Child has an unquestionably compelling foundation, but it becomes too drenched in its own sentimental messaging.
The Beach Bum is a love letter to the unlikely beauty found in the gutters of Florida, the artsy stoner comedy only Harmony Korine could concoct.
Sweet, charming, and beautifully unique, Laika’s latest film Missing Link deserves only the highest praise.
The Burial of Kojo is an aesthetically accomplished debut for Sam Blitz Bazawule, but the narrative itself is far from perfect.
The OA Part II was better than one could have ever imagined, its ingenuity and trust in its audience, coupled by the brilliant execution of its power duo, brought the series to new heights.
Marisol is an eye opening experience for the viewer, its intensity and visual representations resonating long after the short has ended.
Though with a premise that sounds intriguing, William is a curio taken in entirely the wrong direction.
Unicorn Store, Brie Larson’s directorial debut, marks the beginning of a new chapter in the multi-hyphenate’s career.
Meme can be a brilliant thriller when it wants to be, but there is a heck of a lot of philosophising bridging those tenser moments.
Kent Jones’ Diane struggles to define itself as something more than an average, albeit thoughtful, indie film.
The Wind reverberates with an eerie tone, and though occasionally uneven, there is enough here to ultimately recommend it, especially for fans of Westerns or horror.
We were able to speak with Justin O’Neal Miller, writer and director of the comedy short about American suburbia called Peggy.
Stockholm is successful in doing the impossible – making the viewer understand and even empathize with the interpersonal connection between a hostage and her captor, and vice versa.
A promising start quickly descends into troubling formula in The Best of Enemies, wasting two excellent lead performances and a potentially interesting story.