From meta commentary to social commentary, Wes Craven’s final film is a bundle of cinephilic sarcasm that was ahead of its time.
Author: Matt Cipolla
Lee Isaac Chung’s Sundance winner is a well-intentioned and sweet family drama that can’t help but feel incomplete.
The gimmick to Kevin Macdonald’s worldwide snapshot of 24 hours has lost its novelty this deep into the social media age.
Ninja Thyberg’s tale of a woman’s attempt to make it in the adult film industry is a feature debut that doesn’t pull any punches.
Theo Anthony’s new documentary threads together film theory, politics, and philosophy to great success.
Sean Ellis’ werewolf period piece is a humorless medley of conflicting approaches that somehow ends up dull.
Ben Wheatley’s pandemic-shot sci-fi effort is a derivative and predictable trip through the fog despite a few choice moments.
Pascual Sisto’s debut feature is a surprisingly toothless psychological thriller with very little on its mind.
The new film from Dash Shaw and Jane Samborski uses its breadth of bold psychedelic inspirations to distract from a tepid script.
From The Assistant to Wolfwalkers, we guide you through the cinema that survived a devastating 2020 and made it to our screens — and hearts.
Adam Mason’s near-future COVID tale is an unnecessary idea made worse by a rushed script and cheap production values.
In honor of the release of Mank, we look back at the director who’s continued to blend noir, thriller, black comedy, and mainstream appeal.
Alex Winter’s look at the multi-hyphenate is an expansive two hours bolstered by its unseen footage and stellar editing.
David Fincher’s biopic of Citizen Kane writer Herman J. Mankiewicz is a slick, cynical reframing of Hollywood’s Golden Age.
Gabriel Mascaro’s sci-fi drama is an eye-catching effort that doesn’t have as much to say as it thinks it does.
Jacob Chase’s new horror film balances eery scares with a human core before it starts to teeter off the rails by the end.
Angel Manuel Soto’s tale of Baltimore dirt bikers has all the right ingredients, but it rides the clutch too often.
Damien LeVeck’s adaptation of his own short film takes a sharp premise and pads it out to feature-length.