‘Deerskin’ is a brutally weird movie with a rambling narrative that often feels more interested in its thematic elements than its plot and character ones.
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Warren Cantrell
Interesting, though a bit fragmented during its final 10-15 minutes, ‘The Quarry’ feels like Cormac McCarthy Lite.
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A Carpe Diem fever dream about love, loss, failure, fate, and time travel, ‘Same Boat’ is a delightful little surprise.
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A sci-fi suspense thriller that’s as interesting as it is ambitious, Vivarium probes the evolving nature of the human condition and notions of “home.”
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‘The Postcard Killings’ is little more than a rote, paint by numbers serial killer thriller with stock elements most have seen before.
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‘Run This Town’ is an ambitious yet overstuffed political thriller with about two B-plots too many.
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Writer/director Lauren Kosann is making her feature debut with ‘The Social Ones,’ and it’s an admirable effort with its heart in the right place.
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‘Olympic Dreams’ is a touching love letter to the lonely souls of the world who realize no one is ever lost if in good company.
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‘The Night Clerk’ is interesting, yet the central mystery’s vacancy and lack of urgency ultimately holds the whole effort back.
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An exploration of Hollywood’s casting couch culture pre-#MeToo, ‘The Assistant’ does a great job setting the stage for its story, yet fumbles telling it.
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A World War II Holocaust-adjacent film that’s appropriate for the whole family, ‘Waiting for Anya’ succeeds on its own merits.
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The macho, Rambo-esque energy throughout ‘Disturbing the Peace,’ combined with its social politics, make it a thoroughly ugly and distasteful experience.
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‘Inherit the Viper’ is a slick, well-crafted journey into the heart of an opioid-ravaged America that is disappearing in pockets day by day.
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Tense, gripping, beautiful, and brutally relentless, director Sam Mendes has achieved something extraordinary with his newest feature, ‘1917.’
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Don’t for one second try to tell me that it is even in the same league of mediocrity as the prequel trilogy.
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