While 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.
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While 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’.
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Despite 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.
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While 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.
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Thanks 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.
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While 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.
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While 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.
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Jane 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.
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While 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.
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Olivia Wilde’s latest directorial effort ‘The Invite’ is just as hilarious as it is impressive, making for one of the year’s best.
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While 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’.
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Short, 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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John Early’s convincing performance as ‘Maddie’s Secret's titular character saves a rather perplexing experience that doesn’t know whether to fully lean into its satirical provocations or seriously explore the protagonist’s secret.
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Despite a committed performance from Mila Al-Zahrani, Haifaa al-Mansour’s ‘Unidentified’ takes a rather irresponsible turn near its final five minutes, which sinks the entire proposition from the acclaimed Saudi filmmaker.
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Beyond the title telegraphing what happens to the titular character, when the credits roll for ‘The Death of Robin Hood’, it’s hard to say that anything new has been learned, or even meaningfully accomplished with the iconic character.
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Despite solid performances and a potent message, Adrian Chiarella’s ‘Leviticus’ begins to fall apart as soon as its mechanics contradict themselves.
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Despite solid performances from Samara Weaving and Kyle Gallner, alongside an assured sense of style, Adam Carter Rehmeier’s ‘Carolina Caroline’ doesn’t have much to offer beyond its obvious inspirations.
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Ol Parker’s latest romantic comedy, ‘Office Romance’, is frequently bizarre and, in many respects, painfully unfunny. However, once Jennifer Lopez and Brett Goldstein are paired together, it’s pure movie magic.
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Kane Parsons breaks into the Hollywood scene by adapting his own ‘Backrooms’ YouTube series into a surprisingly intelligent and aesthetically thoughtful feature film.
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While ‘Ladies First’ boasts a fun cast, the movie’s morals are even more dated and regressive than its French-language 2018 original.
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