The sheer number of creative ways in which writer/director Jeffrey McHale uses footage for this retrospective movie documentary makes it the new gold standard of the genre, taking a movie you’re likely already biased against and leaving you feeling like you might just love it.
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A blood and gore-soaked romp through a Home Alone-esque scenario with 21st century sensibilities, ‘Becky’ is all sorts of fun.
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A jumbled, chaotic mess of imagery, character sketches, bad jazz, and even worse storytelling, ‘Adrift in Soho’ is just that: adrift.
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Two bank robbers & their hostage retreat into a motel. When their boss doesn’t show up, they must battle through their deteriorating mental state and find a way out before they turn on each other.
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While the fictional parodies of themselves have given me a few chuckles, along with plenty to see and salivate over, it is time to say goodbye—a theme that is very apparent throughout this movie.
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A slow-burn psychological odyssey through the mind of one man with the power to liberate a nation, ‘The Man Standing Next’ does more right than wrong.
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A feel-good story based on real events and people, ‘Military Wives’ is often breezy, sometimes poignant, and rarely offensive.
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The Dalai Lama tells the unknown story, in his own words, of his lifelong journey into the world of science and technology, and how the world has changed as a result. With extensive, rare, and never before seen footage, this film tells the very human story of the Dalai Lama that no one knows.
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A series of mistakes leads to a deadly collision between two criminals and a drug kingpin in Clark Duke’s directorial debut ‘Arkansas.’
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Think of ‘The Wretched’ as the peanut butter and jelly sandwich of horror: you’re unlikely to be surprised by what you’re getting, but you’ll certainly take it in without any complaint.
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‘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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Dan Bush’s ‘The Dark Red’ is definitely watchable, but almost infuriating in how little it seems to regard its tonal shifts. Rather than “yes, and,” it chooses instead to go for “and then,” switching from one genre to another, choosing to keep the various aspects distinctly and ineffectively separate.
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While these docs all stand on their own, as binged series, the interconnectedness of all these titles, genres, and personages come together in a very gratifying way.
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Kirill Sokolov’s ‘Why Don’t You Just Die!’ is an astonishingly well-constructed piece of filmmaking, and the sort of movie destined to become necessary viewing for anyone who likes a chuckle with their shotgun blasts.
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In the end, nothing is truly gained from watching this. I don’t see the point in timing this around the unofficial marijuana “holiday” of 4/20. This was more of a bad trip than anything else.
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