A Lizard In a Woman’s Skin (the title comes from a throwaway line delivered by, you guessed it, a drugged-out hippie) is an authentic 1970s giallo, full of lurid imagery and an insolent refusal to have any point beyond base titillation.
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Alexander Ullom’s debut is a smart and existential thriller that’s exactly what you’d hope for from an indie debut.
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Maybe if our “Idiots” had more fun on this road trip, it would have made the ending hit a little harder. But, Blair’s scattershot comedy is too all over the place for the audience to take anything significant away.
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Hope is absolutely worth rolling the dice on, assuming you can deal with its caveats when the time comes.
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I Want Your Sex lives with one foot in reality and one firmly planted in the surreal, ready to shift into an animated dream sequence at any turn, and you should see it while you can, if you can, wherever you can.
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One’s reaction to After Last Season might be to laugh at first, as the lines between good and bad start to blur, but I found my laughter turned into curiosity and, searching through the confusion rather than being just tickled by it, I found the artistry of the film.
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The Legend of the Stardust Brothers feels universal. More than brothers, they are the heroes with a thousand faces: the rock band: the movie.
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Insidious: Out of the Further is that rare sixth entry in a horror franchise that happens to be the best.
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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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David Robert Mitchell gives us a dino movie with a patina of ‘80s and ‘90s nostalgia that doesn’t do much to cover paper-thin storylines and characters.
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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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