MINARI (2021)
“the struggle of growing up, growing anew, and growing together - in land and in heart”
Read MoreTHE LITTLE THINGS (2021)
“Trying to recapture the gritty and disturbed fortitude of 90s Denzel Washington crime thrillers, but failing”
Read MoreRELENTLESS (2020)
“a swim through the possibilities is better than the film’s sink to the water logged bottom”
Read MoreMASS (2021)
“cutting journey on the double edged sword of pain that is the lonely search for truth of the parents of a mass shooting”
Read MoreALONE (2020)
“stripped down terror chase”
Read MoreANOTHER ROUND (2020)
“Dismaying and droll, depending on which side that bottle cap falls for you”
Read MoreA PROMISING YOUNG WOMAN (2020)
“immersive and corrosive and subversively eruptive”
Read MoreBAD EDUCATION (2020)
“Hugh Jackman killed it”
Read MoreKAJILLIONAIRE (2020)
“strings holding this shaky structure together were gaunt and my amusement was abortive”
Read MoreFUNNY BOY (2020)
“at once too thin and overstuffed simultaneously”
Read MoreTHE NEST (2020)
“subtle cryptic spirit of dourness that torments the film”
Read MoreMA RAINEY'S BLACK BOTTOM (2020)
“delivers power, emotion, and a vivid cinematic ferocity”
Read MoreTHE MIDNIGHT SKY (2020)
“feels like a Hallmark meets SyFy Channel feature with money from a bigger studio & stars”
Read MoreGREYHOUND (2020)
A dadfernoon WWII fanservice extravaganza
Read MoreLUCKY GRANDMA (2020)
“enjoyable and chain-smokingly jaunty”
Read MoreSOUND OF METAL (2020)
“A moving and engrossing character piece which Ahmed delivers the best performance of his young career”
Read MoreSORRY WE MISSED YOU (2020)
“a naturalness that invites and embeds within you”
Read MoreMANK (2020)
“An animated and blustery silver-tongued affair”
Read MoreHILLBILLY ELEGY (2020)
“not enjoyable, enriching, or a satisfactorily detailed tale”
Read MoreRELIC (2020)
“blends metaphor and malicious materiality into a creeping dread”
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