“Lockjaw” is a Wired Shut Anxiety Attack
Lockjaw takes its limits and uses them as a strength, creating a pseudo bottle thriller about the cusp of adulthood.
“Come with Me” Looks into the Heart of Belief
Come with Me shows the “why” behind the search for meaning in life. How this search for betterment, when misplaced, can lead to ruin.
“Idiots” Plays it Safe and Stoner
As Idiots stands, it’s not a new or well-developed look at the broken systems that keep rich people rich and poor people poor, nor does it crack a joke about something that hasn’t already happened in a frat house somewhere in America.
“Teenage Sex and Death at Camp Miasma” Needs More Flesh
Teenage Sex and Death at Camp Miasma is supposed to be a release, an explosion of flesh and fluids, but its scream is not as triumphant as one might hope.
“Tony” Lacks Anthony Bourdain’s Understanding of the Human Condition
Tony is stagnant, missing the truth behind the man who could make friends with anyone.
“Gypsy 83” is a Love Letter to the Early-Aughts Freaks
Twenty-five years on and Gypsy 83 is still a rollicking adventure. Clive and Gypsy were written for the noncomforists of suburbia who dream of adventure far beyond the state of Ohio.
“Pure Scum” is a Nightmare of a Night
The ending of Pure Scum is a kick when the audience is already down, but there’s no better way to finish a movie like this one.
“Cuddly Toys” is Sharp Around the Edges
An impossible balancing act that somehow comes together, Cuddly Toys is blisteringly unlike anything you’ve ever seen before.
“Sawtooth Mountain” Looks for Elusive Scares & Bigfoot
Sawtooth Mountain holds its hairy cards to its chest, but confidently deals a tension-building hand in a game of survival that’s buoyed by a strong cast of actors.
“Nimrods” Can’t Make Mainstream Punk
Nimrods needs more bite to match the fervor of the punks who paved the way.
“The End of Oak Street” Cares More about its Dinos Than its Humans
The End of Oak Street has wrapped itself in the trappings of the blockbuster greats of yesteryear without seeing it through all the way.
The More You Think About “One Night Only,” the Crazier it Becomes
One Night Only is a small stumbling block on the road to a rom com renaissance, with brief moments of glory.
Locarno: “Bruton” is Another Showcase of Theo Rossi’s Greatness
Bruton acts as both a character study and a succinct exploration of the reality of the Florida prison system. It offers no judgment, just the quiet observation Grashaw does best.
“The Best Pizza is in LA” is a Cheesy Love Letter to the City of Angels
The Best Pizza Is in LA is a love letter to a city, one delicious bite at a time.
“Mustache” is a Delight
In order to enjoy Mustache, you just have to be willing to go back to the awkward teenage years of finding yourself — the often uncomfortable, sometimes profound, and always shifting time when the tickle of a prepubescent mustache can change the world.
“Sheep in the Box” Doesn’t Open the Lid on AI
What Sheep in the Box needs is Kore-eda’s trademark humanistic touch, and it’s a shame it’s missing.
“Her Private Hell” Begs for a Sense of Direction
If nothing else, Her Private Hell gives the gift of big screens still taking a chance on something weird.
“The Calling Witch” Blends Fiction & Fear
The Calling Witch is a slow burn that doesn’t rush or worry about hitting a quota of scares. It’s more interested in plumbing what it means to be a family.
“The Odyssey” Doesn’t Tread a New Path
Christopher Nolan’s The Odyssey is an undeniable feat of filmmaking, but one that struggles to make sense of its mortal purpose.
“The Invite” is a Voyeur’s Dream
“One should always be in love. That is the reason one should never marry.” The Invite probes the 21st-century idea of marriage, love, sex, and everything in between.