Sean King O’Grady directs a claustrophobic horror film that has a lot of potential, but just misses the mark.
Author: Peter Sobczynski
No Man of God, Amber Sealey’s Ted Bundy picture, is well made but does not successfully distinguish itself from its fellow study-of-a-serial-killer films.
Eddie Martin’s documentary gives voice to the cast of young actors in Larry Clark’s seminal Kids — and the traumas that came from the experience.
Robert Altman’s swan song remains a mesh of spontaneity and character detail further lifted by its ensemble cast.
Bruce Willis’ infamous megaflop may have been greeted with a collective “whuh?”, but it rather rules as a movie.
Sylvester Stallone’s ludicrous tough guy cop picture is the most ludicrous tough guy cop picture.
Francis Ford Coppola’s re-edit of his troubled gangster musical reveals a masterwork.
Two cult TV comedies made furtive attempts at the big screen in 1996, and the results were as unappreciated then as they are now.
John Boorman’s extravagant take on the King Arthur legend holds up as a dazzling, over the top fantasy epic.
Marlon Brando’s sole directorial credit is a messy but fascinating combination of Western and Freudian drama.
Five films from around the world come to this year’s SXSW, from tales of oppression to liberation to everything in between.
Bradley Bell and Pablo Jones-Soler assemble a freewheeling look at the artistic process from soup to nuts.
Mary Wharton’s doc celebrates Petty’s life and works, but the lack of conflict makes it hard to latch onto.
This YouTube Original documentary refuses easy answers for the pop star’s struggles with addiction and mental health.
Luc Besson’s spy thriller chills and excites with beaucoup style three decades on, and proves his bona fides […]
Danis Goulet’s sci-fi adventure intriguingly explores the systematic eradication of indigenous peoples through a Hunger Games lens, but falters when it leans too close to the conventions of that already-creaky genre.
Xavier Beauvois’ procedural offers intriguing day-in-the-life police work, despite an abrupt late-film shift into melodrama.
The sci-fi thriller takes no risks, and tries absolutely nothing you haven’t seen before.