First They Came for My College is an incredibly emotional documentary, even if it struggles to connect that emotion to the bigger picture.
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Ultimately, Kontinental ‘25 feels like a Radu Jude film for people who can’t stomach the idea of a Radu Jude film.
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Love Hotel ends up not necessarily answering the question of what these two people want or need from each other, but it does leave a familiar bittersweetness in its wake.
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Patricia Gillespie’s documentary aims to expose the insidious nature of unchecked mental illness at its most extreme, and for the most part she succeeds. #SKYKING is a tough watch but it is a rewarding one.
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From its name on down, Polone’s Psycho Killer has a certain braindead charm that earns its mercifully brief 92 minutes.
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Passing Through represents a dynamic example of black artists creatively reacting to times of civil unrest, and inspiring other filmmakers to continue telling such stories in later periods.
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Before we even meet the central couple, the film frames sex not as a conquest for pleasure or love, but as a means to start a philosophy lecture on the human drive.
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I left the theater that evening yearning for modern filmmaking to take a note from something like Pink Cut – a film brave enough to marry whimsy and eroticism perfectly.
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Forbidden Fruits feels like an almost great teen movie.
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While Scott and Deadwyler are magnetic performers, The Saviors becomes too focused on its own plot to let the viewer engage with it as a pure character piece, but the plot is so obviously foreshadowing a twist that the film feels slow in execution.
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Ready or Not 2: Here I Come aims to be bigger and bolder, but a suite of new characters can’t save the movie from a dumbed-down script.
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With a neo-noir tone, a sleek L.A. setting and a cop versus criminal plot, Layton’s Crime 101 takes a page from Michael Mann’s oeuvre but struggles to pull off a heist movie with any real style.
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This movie was the end of an era, and it deserves your time. We didn’t know how good we had it.
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In Dead Bang, Don Johnson’s Jerry Beck isn’t a wisecracking action hero like John McClane; he’s exhausted, bureaucratically constrained, and emotionally numb. The movie keeps reminding you that this is a job, not an adventure. He’s got bigger fish to fry, it seems.
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Despite the difficult exterior, the film strives to look lovingly at New York City, knowing under the rough edges there’s a place full of beauty and unique magic, a victim itself of fraught leadership.
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Marty Supreme is a triumph because it serves as a pure extension of Josh Safdie's vision.
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Two packed weeks, very little sleep, and more films than our brains could probably process. Here is everything we caught at Sundance Film Festival.
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The arguments around both films are noticeably similar: do the films fully embrace the politics they portray? How radical can big-budget films released by major studios ever really be?
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Director Sam Green’s latest film, named after the Guinness World Record designation, follows several of the title holders of this ephemeral honor.
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Any merits of The Bride!, of which there are many, slam into a brick wall in the face of its biggest problem: undermining surreal storytelling with hyper-literal storytelling.
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