Like all good films about film, Jane Schoenbrun’s Teenage Sex and Death at Camp Miasma is obsessed with looking: who's looking, and how they’re looking.
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Skweezy Jibbs Makes a Movie is a testament to the fact that regardless of a movie’s quality, the world is better for having more real art in it, straight from the soul.
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This might seem like an obvious statement, but for a filmmaker synonymous with blockbuster movies, Steven Spielberg has rarely, if ever, made something impersonal in his 50 year career. And Disclosure Day is perhaps the most personal blockbuster he’s made in 20 years.
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Cruel Jaws feels dangerous in a fun way, like watching a friend spray graffiti on a government building. It doesn’t matter that the graffiti is incomprehensible trash, it’s exhilarating and fun in the moment.
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One Night Only knows that it’s a silly, trashy, and charming romantic-comedy starring two very game actors who are over qualified for this kind of thing and should probably have some serious talks with their agents.
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While The Samurai and The Prisoner may take its time rolling through its four seasonal vignettes, there are elements that will satisfy both fans of good, Columbo-style mysteries and Kurosawa’s dives into the darker parts of the human psyche.
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Spider-Man: Brand New Day is a messy cacophony of sounds and images that serve as a good Spider-Man movie, but also kind of a throwaway.
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Director David Wain’s comedy is inextricable from the people he’s surrounded himself with for over two decades, and the result are movies that feel like a group of friends getting together to do stupidly fun shit.
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The achievement of the directors is no simple feat. They have presented a collection of intimate interviews about a scene that perhaps will never again get such a careful treatment.
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A meta sci-fi/giallo hybrid from the director of Drive sounds sick as hell on paper, which makes the ordeal of sitting through Her Private Hell all the more disappointing.
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Maddie’s Secret achieves the emotional magic of melodramas: the viewer unknowingly finds themselves swept up in the heightened emotions at the story’s peak, with crushing emotional consequences
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Uncaring adults, prophetic dreams of a sexual nature, carelessly unsafe sex that feels like love, blood-splattered runs from truth and plot into the unknown.
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Sitting through Ben and Arthur at a Weird Wednesday screening is its own category of transformative.
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Tony is a fun but forgettable biopic anchored by Dominic Sessa’s portrayal of a young Anthony Bourdain.
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The Dink simply exists halfway between a sports movie and a comedy, never thrilling enough to be the former, never funny enough to be the latter.
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Evil Dead movies are so beloved because they’re fun. Burn seems to forget that.
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Michael sounds like a Michael Jackson fan’s dream while Man In The Mirror sounds like an incredibly lacking, unintentionally funny ode to the King of Pop, and maybe both of those things are true, but Man In The Mirror has something that Michael definitely lacked: the courage to explore its hero, warts and all.
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While this is undeniably a poor movie, it is indeed fun to watch, but not taken as a representation of Juan Piquer Simón’s finest work.
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For an adaptation of an ancient work, it is startling how much Nolan’s recontextualizing of Troy’s destruction speaks to societal failures we are living through over 2,000 years later.
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This is no cloying tale of Americana, all wrapped in nostalgia and summertime haze. Clad in cool undertones, this is an ultra-realistic, dreary portrayal of life in rural small-town America, where mundanity and its discontents take center stage.
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