Movies are often described as having dream logic or otherwise being dreamlike, and this truly feels like a dream.
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Who Killed Teddy Bear? is a seemingly salacious examination of human perversity, but there is room here for something more nuanced, thanks to performances that elevate the material.
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The Apple is a campy, blast from the past, borderline hippie propaganda mess that I couldn’t look away from and a not-so-genius product of its time.
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It’s hard to beat Raimi even when you’re Raimi himself, but that doesn’t mean that Send Help isn’t going to be a blast to watch in a theater with a crowd squealing at its bleakly hilarious sequences.
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Despite being in the public domain, Spider Baby is best shared with a whole room filled with friends and strangers, a communal experience in beautiful weirdness before its time. It’s almost like Jack Hill dared to ask the question: What if the Addams Family were as dangerous as they were lovable?
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Surfer, Dude is tonally deranged, structurally unfocused, and difficult to fully comprehend… but, the vibes were good.
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Regarding Osgood Perkins’ feature film The Monkey, I didn’t laugh. But we can go deeper than that.
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Fans of the previous film will likely call it the first great horror movie of the year, and, like Samson with his lunch of brains, even the haters might find some big ideas to chew on.
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Anno's commentary is neither moralistic nor celebratory towards digital video. It is, as all of his work is, rooted in a deep empathy that finds a spark of hope within a pit of blue-black despair.
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After an eight year gap between her last two films, Lynne Ramsay demonstrates all her strongest skills for using textural impressionism to complicate what could be taken as a straightforward domestic drama.
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This one is, to use a technical term, a doozy.
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Five Nights at Freddy’s 2 ramps up the stakes and scares, resulting in something sure to delight fans.
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Song Sung Blue is hardly lacking in biopic cliches, but shows real juice with its tortuous reversals of fortune and hard-won working-class sentiment.
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Brooks politically neuters the movie to the point of inanity in his attempt to show that a pure heart can win
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The rhythm of devotion is what drives The Testament of Ann Lee, the latest film from director Mona Fastvold.
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Hello Out There’s comic moments click. Its dramatic moments stick. It’s as incisive in its study of Minnie and Rex’s foibles as it is gentle in its treatment of their navigating their lives.
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Ann Marie Allison’s You’re Dating a Narcissist! whiplashes between being an effective and affecting exploration of parenting after your children reach adulthood at its best and too-broad and surprisingly poorly made at its worst. And Daniel Roebuck’s Tuesday’s Flu, a well-acted crime story and character study that never rises above “ok.”
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All told, Is This Thing On? is a darn well-made film that serves two excellent performances from two great actors. It’s well worth seeing.
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Springsteen: Deliver Me From Nowhere attempts to paint Bruce’s life with the same romantic flourishes that define his work, but rather than capturing the truth or transcending it, the film struggles to figure out what to do with it.
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Set in small-town America and exploring themes of capitalism, exploitation, corporate culture and conspiracy, Bugonia is jaw-dropping, edge of your seat goodness.
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