LUCKY Is A Memorable Exit For An American Icon
Harry Dean Stanton is an icon among character actors. It is fitting that LUCKY gave him a chance to shine as a leading man before his death.
THE HONOR FARM Is A Hallucinatory Coming-of-Age Story
The Honor Farm looks like a horror movie, but what it actually ends up being is a surprisingly sweet coming-of-age story in spooky clothes.
GERALD’S GAME Is Netflix’s Finest Thriller
If you had asked me before I saw this, I would have named GERALD’S GAME as an unadaptable story. Mike Flanagan has proved me wrong.
COLUMBUS Finds Inspiration In Everyday Life
COLUMBUS is a heartfelt drama about family, loss, and the future. As a debut film from essayist Kogonada, it is a small miracle.
INGRID GOES WEST, Ingrid Goes Wrong
INGRID GOES WEST is a biting satire of social media influencer culture with a killer cast. So why doesn’t it quite come together?
LADY MACBETH Is A Bleak Portrait of Privilege and Power
LADY MACBETH is a sophisticated picture of race, gender, and power, in the form of a melodrama set in 19th century Scotland.
Do You Have Superhero Movie Fatigue?
You don’t have superhero movie fatigue. You have superfranchise fatigue. The modern franchise is enormous, unwieldy — and too big to fail.
ATOMIC BLONDE Is Beautiful, Brutal, and Brainless
ATOMIC BLONDE attempts to recreate the JOHN WICK magic with Charlize Theron in the lead. Can David Lietch make lightning strike twice?
LOST IN PARIS: A CIFF Review
LOST IN PARIS is an irrepressibly charming French comedy. Do not sleep on Fiona Gordon and Dominique Abel’s delightfully unhinged farce.
THE COMMUNE: A CIFF Review
The Cleveland International Film Festival brought us the newest film from Danish filmmaker Thomas Vinterberg. How does The Commune hold up?
IRON FIST and the Marvel/Netflix Monotone
The Marvel/Netflix partnership hasn’t produced a truly great show yet, but in IRON FIST, it found its first truly abysmal one.
MY LIFE AS A COURGETTE is bleak, beautiful, and sweet
MY LIFE AS A COURGETTE, a French animated film nominated for Best Animated Feature at the Academy Awards, is a potent mixture of sad and sweet.
THE SALESMAN Is A Revenge Tale Only Asghar Farhadi Could Make
The Salesman lets Iran’s finest director, Asghar Farhadi, tell a nuanced, emotional revenge story that should resonate with audiences everywhere.
Police State: DO NOT RESIST & 13th
Policing is perhaps THE partisan divide of our era. Here are two stellar documentaries on the past, present, and future of the American police.
THE BYE BYE MAN Isn’t Good
The Bye Bye Man, a new horror film in the vein of SINISTER, is unfortunately not a good movie, but is it at least enjoyably bad? Also no.