Reviews of upcoming films with one-night-only screenings, commercial theatrical runs, or recently released on home video.
The conceptually ambitious and emotionally evocative documentary Tower uses animated recreations to pay tribute to the victims of Charles Whitman’s sniper attack on the University of Texas campus in 1966. […]
Edwanike Harbour did not care much for this adaptation of J.G. Ballard’s novel by Ben Wheatley (A Field in England, Kill List). […]
Chris Lay admires the impressive cast assembled by director Jeff Baena for his independent comedy, Joshy, a film that asks the question: Are the five stages of grief attainable at your bachelor party? […]
Lewis Peterson from the Four Star Video Coop looks at The Midnight After, the latest from Hong Kong auteur Fruit Chan (Dumplings). […]
Edwanike Harbour argues that the latest film from Michel Gondry, Microbe and Gasoline, strikes the right balance between quirk, teen angst, and comedy. […]
James Kreul suggests that Operation Avalanche does not live up to its festival circuit buzz, but it provides enough invention and moxie to remain entertaining and endearing. […]
Edwanike Harbour argues that despite material that could turn off some viewers, Paul Verhoeven (Basic Instinct) delivers a perfect viewing experience with his new film starring Golden Globe winner Isabelle Huppert. […]
James Kreul argues that Dear Zindagi is the most broadly appealing Bollywood film to play Madison in 2016, despite its use of bland music montages instead of dance sequences. After a year of particularly shallow female characters, writer/director Gauri Shinde and star Alia Bhatt play with Bollywood conventions about romance, family, sexuality, and gender roles to deliver an intriguing character study of a young professional woman. […]
Erik Oliver argues that Kubo and the Two Strings provides an opportunity for animation studio Leika to flex its muscles, resulting in a visually impressive and emotionally compelling cinematic experience. […]
Grant Phipps examines the latest film from Brazilian filmmaker Anna Muylaert, Don’t Call Me Son, in which a gender bending teenager finds new social circumstances when his biological mother reclaims him. […]
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