The animated show from the creators of Bob’s Burgers continues to be utterly delightful and surprisingly creative.
The New York-based festival roars back to post-lockdown life with its usual solid lineup of future award winners and indie gems.
The latest entry of the perennial series is a mixed bag of the movies’ trademark ridiculousness and shoddy, lackluster action sequences.
Quoc Bao Tran’s dramedy about aging gung fu students’ quest to avenge their murdered sifu is funny, thoughtful, and boasts excellent fights.
Adam Leon’s foggy mood piece is as endearingly formless as its amnesiac protagonist, a moody reflection on creativity and youth.
Mickey Reece’s latest eases you into a darkly comic take on the typical possession film, before turning an ambitious 180 into more solemn territory.
The latest piece of Disney+ programming is all dressed up but mistakes excessive chit-chat for drama.
The follow-up to the groundbreaking HBO true crime miniseries puts a compassionate spotlight on the Golden State Killer’s victims and survivors.
Ilana Glazer co-writes and stars in a jarring thriller about a mother-to-be suffering from paranoia…or is she?
Kevin Hart dips his toes into dramedy, but the film can’t quite overcome a weak script and a heaping helping of unearned melodrama.
“Poser” – Noah Dixon and Ori Segev’s Columbus indie scene drama/thriller, offers strong acting, killer tunes, and frustrating storytelling.
Dan Chen’s documentary starts as a celebration of unexpected Black success, but pulls back the curtain to ask more enticing questions about the racial inequities in education.
Delmar Washington’s well-intentioned sci-fi parable about racial profiling gets tripped up in the constraints of its budget.
Isabelle Furhman’s relentless lead performance as an obsessive aspiring athlete propels Tribeca rowing drama “The Novice” forward.
Lisa Immordino Vreeland’s documentary shifts the writers’ prose and personas to the screen.
Valerie Armstrong’s sitcom is a dark, feminist twist on the sort of TV fare that’s oversaturated the airwaves.
Two indie romances act as unlikely companion pieces, in both good ways and bad, in this year’s Tribeca festival.
Sean King O’Grady directs a claustrophobic horror film that has a lot of potential, but just misses the mark.