Adam Wingard’s ‘Onslaught’ proves that old-school finesse is still within the realm of reason, blending all the right elements of classic genre hits with the mastery of today.
Read MoreDirector Casper Kelly reminds us how deeply unsettling ‘90s childhood shows were by simply adding a horror prism to mascot figures in his feature directorial debut, ‘Buddy’.
Read MoreWillem Dafoe and Greta Lee give two of the year’s most moving and profoundly tragic performances in Kent Jones’ ‘Late Fame’.
Read MoreFinally released to the world, Dave Green’s ‘Coyote vs. Acme’ lives up to the hype and proves to all of us that any movie is worth releasing, no matter the cost.
Read MoreDespite one of the year’s best ensembles, Karim Aïnouz and Efthimis Filippou’s reinterpretation of a Marco Bellocchio classic in ‘Rosebush Pruning’ ends up being a massive nothingburger.
Read MoreMatt Johnson deconstructs – and complicates – the very nature of biopics by drawing a tragic portrait of Anthony Bourdain’s youth in the masterful ‘Tony’.
Read MoreKristen Stewart and Alia Shawkat pair up for the year’s best hangout movie with ‘The Wrong Girls’, a movie that functions best when you don’t try to think about it too much.
Read MoreDespite an incredible lead performance from Haruka Ayase, fillmmaker Hirokazu Kore-eda struggles to translate many ideas on screen in ‘Sheep in the Box’, making it a massive misstep for the prolific Japanese auteur.
Read MoreWhile not without its flaws, ‘The Last House’, a film that draws inspiration from something such as M. Night Shyamalan’s early days, shouldn’t be dismissed, especially given how aesthetically and thematically sturdy it is.
Read MoreWhile the laughs may not flow as much as the first two films in the franchise, the Broken Lizard crew still gives us a hefty dose of shenanigans with ‘Super Troopers 3’.
Read MoreDespite an alluring visual language and decent performances from both Pascale Bussières and François Arnaud, filmmaker Wiebke von Carolsfeld’s ‘Someone’s Daughter’ seems afraid to explore the central topic at the heart of the movie.
Read MoreWhile Seidi Haarla gives filmmaker Hannah Bergholm’s ‘Nightborn’ a real dramatic heft, this Cheval Noir-award winning picture quickly bludgeons the audience with the same old tropes, ideas and irritating shrieks that ultimately signify nothing.
Read MoreThanks to its committed performances and an impeccably controlled aesthetic palette, director Nicky Murphy gives us a mockumentary for the ages in ‘I Love Paris’, which can even put What We Do In the Shadows to shame.
Read MoreWhile not without its flaws, filmmaker Corrin Evans strikes the screen with the aesthetically invigorating and thematically rich ‘Corpus’, one of the major highlights of this year’s Fantasia Cheval Noir section.
Read MoreWhile brief, Makoto Ueda crafts a highly playful meta-comedy with ‘You Are the Film’ and awakens our innate love of cinema as a unifying art form.
Read MoreJane Schoenbrun tackles a lot in ‘Teenage Sex and Death at Camp Miasma’ that it almost feels like it’s going to collapse in on itself, until it doesn’t and opens up in ways you never expected from the outset.
Read MoreWhile Mark Jenkin continues his signature visual language and draws career-best performances from Callum Turner and George MacKay, the overall experience of ‘Rose of Nevada’ confounds more than it illuminates.
Read MoreOlivia Wilde’s latest directorial effort ‘The Invite’ is just as hilarious as it is impressive, making for one of the year’s best.
Read MoreWhile imperfect in its structure, Carla Simón manages to pull us into a devastating portrait of a young woman searching for the truth amid a fractured family with ‘Romería’.
Read MoreShort, sweet, and blending the old with the new, ‘Jackass: Best and Last’ is less swan song and more victory lap. Longtime fans and new viewers alike will find a lot to appreciate in this theatrical riot.
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