A quarter of a century later, Reality Bites offers a frustratingly incomplete portrait of the MTV generation.
Robert Rodriguez and James Cameron adapt the 90s anime to full, Uncanny Valley effect, and if you’re into that sort of thing it excels.
Clint sits down with the documentary filmmaker to talk about his observations of post-war Bosnia and the fascinating subjects of his story.
Shawn Convey’s doc about a Bosnian biker gang on a humanitarian mission is a meditative mood piece on war, trauma, and purpose.
Rebel Wilson shines in a funny. insightful look at the rhythms of the rom-com.
Switching from slasher to sci-fi comedy, the sequel to the first Happy Death Day is a light, breezy delight.
The Tarell Alvin McRaney-penned basketball drama highlights the commodification of young black men both on and off the court.
While it maintains the same dazzling, frenetic charm of the original LEGO Movie, The Second Part doesn’t manage to recapture the miracle of the first.
Diane Franklin and Paul Ben-Victor play the doomed DeFeos in yet another Amityville remake that’s content to run (and scare) in place.
Our Sundance coverage wraps up with a triple feature of a 1980s art-school personal essay, a documentary from China, and a haunting child-soldier tale.
Day 6 of our Sundance coverage sees a wide gulf in quality, with a stunning doc about the Apollo 11 mission and a stunted dark corporate comedy.
Day 4 of Sundance shows us a neon-lit social media nightmare in Share, as well as Dan Gilroy’s arch, uneven art world critique Velvet Buzzsaw.
High art meets low-grade horror in Dan Gilroy’s big, chancey dark satire of the high-priced modern art market.
Day 2 of our Sundance coverage covers comedies starring Jillian Bell and Pete Davidson, and a tepid political thriller starring Keira Knightley.
From droll Heathers homages to docs about pioneering female sailors, Matt Cipolla breaks down his first day at Sundance.
For the latest interview podcast, Clint talks to the filmmakers behind Netflix’s Polar, and the director of a […]
Ugly, juvenile, and drop-dead boring, Netflix’s comic book adaptation might be the running for worst of the year.
Netflix’s latest sci-fi drama is as lifeless as the polluted future Earth of its setting.