I was a teen when Mr Rogers Neighborhood debuted. The series was not part of my formative childhood experiences. After watching Won't You Be My Neighbor? and being reduced to a sobbing and repentant mess, I want to spend my …
There is no explanation, no backstory just observation enshrouded in mythic layers of beautiful cinematography. Everything is left to interpretation, which is both besides the point and probably is the point.
Boundaries implies it's a film with no boundaries or trying to find it boundaries.
The latest adaptation of White Fang, now streaming on Netflix, tries to maintain a balance between London's naturalism and family dog domestication.
When the expected Deliverance moment comes it is both false and awkwardly right. They all get through the rapids not shattered, just a little bit better men, friends and maybe understanding and appreciative parent and child.
Ant-Man and the Wasp is at its best when it stays just the right size.
Director Andrew Haigh doesn't elevate the story with sappy sentiments and phony triumphs. Instead he delivers an elegiac rendering of the death of childhood.
By foregrounding the true story of Caroline Weldon (Jessica Chastain) an activist and actual portraitist of Sitting Bull (Michael Greyeyes), the director (Susanna White, an HBO veteran) and screenwriter (Steven Knight, Allied) insert artsiness in an attempt to elevate Woman …
American Animals is more of a dissection of a heist than it is an actual heist film.
King of Peking (streaming on Netflix) proves that the best buddy films are created by fathers and sons.
Gemini is all sheen, inversion and misdirection. It is as cool and chill as the city is hot and tempered. It is as hard to live its dream as it is hard to leave.
Uncle Drew can't help to come off looking like a Harlem Globetrotters highlight reel. After all, the glorified exhibition tourney is their to show these stars love of the game.
Any hopes that Artificial Intelligence might achieve greatness, humanity or even some kind of non-revolutionary singularity are dashed by the averageness of AI movies. Tau, a Netflix sci-fi original, proves that garbage in garbage out not only makes buggy code …
Sicario: Day of the Soldado is an action pic that benefits from the Trump bump because its federal agents vs Mexican drug cartels plot (which ironically involves using illegals aliens as a cover) hits an on the nose topicality. Reflecting …
The Endless, a sci-fi/horror cross blend, starring and directed by Justin Benson and Aaron Moorehead, manages to make its supernatural loopiness credible by grounding it all in a recognizable sibling drama.
The movie is a poignant and satisfying album full of sweet times, bittersweet encounters and smart riffs on the awareness of talent subsumed to a secure future.
Bayona manages to hold it all together (just barely) by finding moments of sadness, pathos and tragedy to mix in with the requisite dinosaur terror.
First Reformed is one of Schrader's finest films. It is his redemption, and a perfect fit for his transcendental style
Yes, it is a mess, but families are messy also. The best of them are also near super duper.
All the Ocean films do share the fact that their star powered casts are there to have fun, cash a paycheck-- and if luck be a lady, make a good movie. The con is that is they convince the audience …
It is all so emotionally and nakedly obvious. And that not only makes Sunday's Illness good but near great.
Set It Up is so smart that it almost attains singularity, just not enough for the average Netflix viewer to be unchill with it.
Tag is one of those movies that is much better than it has any right to be.
All I Want, a smart little indie co-written by the actress Melissa Center and debut director West Liang, is the millennial attempt to beat The Big Chill.
Foul mouth and over confident gangsters, international female assassins, domestic hit men with fuckup siblings, kingpins with hot triggered heirs that have daddy inferiority complexes, a city in riot mode, and Dave Bautista channeling Drax 2X, make for an over …
Hereditary is a smart reminder that the horror movie hasn't entirely forgotten it's past.
Every director strives for honesty, but few achieve it so sincerely as Lynn Shelton does in Outside In.
Upgrade knows that any story must fail in the past if it wants to have a future.
The appeal for a movie like Adrift, where both Shailene Woodley and Sam Claflin get lost at sea for forty-one real days or ninety-six minutes of reel time, depends on whether ones Divergent and Hunger Games memories can compete with …