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“Minari” lives on the seeds of its inspirations

Minari
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Lee Isaac Chung’s Sundance winner is a well-intentioned and sweet family drama that can’t help but feel incomplete.

Matt Cipolla Posted on February 9, 2021December 7, 2020

Sundance 2021: “Pleasure” is a painful, provocative viewing

Pleasure
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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.

Matt Cipolla Posted on February 1, 2021February 3, 2021

“The Night” is dark and full of terrors for an Iranian couple in LA

The Night
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Kourosh Ahari’s psychological thriller mines anxieties of Iranian-Americans living in the States for bone-chilling effect.

Beau North Posted on January 31, 2021January 31, 2021

Sundance 2021: “All Light, Everywhere” knows no bounds

All Light, Everywhere
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Theo Anthony’s new documentary threads together film theory, politics, and philosophy to great success.

Matt Cipolla Posted on January 31, 2021January 31, 2021

Sundance 2021: “Eight for Silver” lacks bark and bite

Eight for Silver
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Sean Ellis’ werewolf period piece is a humorless medley of conflicting approaches that somehow ends up dull.

Matt Cipolla Posted on January 31, 2021January 30, 2021

Sundance 2021: “In the Earth” never fully blossoms

In the Earth
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Ben Wheatley’s pandemic-shot sci-fi effort is a derivative and predictable trip through the fog despite a few choice moments.

Matt Cipolla Posted on January 29, 2021February 3, 2021

Sundance 2021: “John and the Hole” is damn near empty

John and the Hole
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Pascual Sisto’s debut feature is a surprisingly toothless psychological thriller with very little on its mind.

Matt Cipolla Posted on January 29, 2021January 30, 2021

Sundance 2021: “Cryptozoo” is a visually bonkers trip

Cryptozoo
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The new film from Dash Shaw and Jane Samborski uses its breadth of bold psychedelic inspirations to distract from a tepid script.

Matt Cipolla Posted on January 29, 2021January 29, 2021

Hop aboard and take a bow for “Let Them All Talk”

Let Them All Talk
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Steven Soderbergh goes further back to his indie roots with a boatful of talent, loose style, and delightful improv.

Ashley Lara Posted on December 10, 2020December 9, 2020

“Songbird” is a pandemic thriller that never sings

Songbird
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Adam Mason’s near-future COVID tale is an unnecessary idea made worse by a rushed script and cheap production values.

Matt Cipolla Posted on December 10, 2020December 10, 2020

“Wild Mountain Thyme” gets lost in the fog

Wild Mountain Thyme
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John Patrick Shanley returns with a miscast, disingenuous tale of Irish star-crossed lovers.

Oluwatayo Adewole Posted on December 9, 2020December 9, 2020

“Wander Darkly” doesn’t quite see the light

Wander Darkly
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Tara Miele’s new film is a mismatched metaphysical love story that shows potential for the writer/director but doesn’t land.

Sarah Gorr Posted on December 9, 2020December 9, 2020

“The Stand In” fails to stand out

The Stand In
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Despite Drew Barrymore’s efforts, But I’m a Cheerleader director Jamie Babbit delivers an out-of-touch showbiz satire.

Douglas Laman Posted on December 8, 2020December 7, 2020

There’s not much to love “When a Man Loves a Woman”

When a Man Loves a Woman
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Co-written by Al Franken, this romantic drama pits Meg Ryan and Andy García against alcoholism—and a bad script.

Jonah Koslofsky Posted on December 7, 2020December 7, 2020

“Don’t be afraid, I’m part of the family”: In defense of “Alien 3”

Alien 3
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David Fincher’s first feature may have angered people at the time, but it continues to prove equally daring as a sequel and a debut.

Peter Sobczynski Posted on December 6, 2020December 12, 2020

“Doubt” casts a shadow, but not the darkest one

Doubt
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John Patrick Shanley’s Catholic Church-set drama is mildly effective and well-acted but too tidy for its subject matter.

Jonah Koslofsky Posted on November 30, 2020November 30, 2020

“Zappa” is one of The Mothers of recent music docs

Zappa
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Alex Winter’s look at the multi-hyphenate is an expansive two hours bolstered by its unseen footage and stellar editing.

Matt Cipolla Posted on November 25, 2020November 25, 2020

“Montana” is a little flat, a little rocky

Montana
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Jennifer Leitzes’ only feature is an uneven genre piece with a good few moments, some thanks in part to Philip Seymour Hoffman.

Jonah Koslofsky Posted on November 23, 2020November 23, 2020

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