Argylle
Argylle regurgitates a plot that amalgamates every single trope possible
American Fiction
What is considered good representation? That is one of American Fiction’s most pressing questions
Orion and the Dark
Orion and the Dark is a surprisingly mature and thoughtful exploration of social anxiety
Berlinale 2024: A Different Man
A Different Man is downright ingenious
Berlinale 2024: The Visitor
The Visitor turns into a provocative, seductive, and often funny statement against a patriarchal society
Berlinale 2024: Cuckoo
Like the best genre films of the ‘80s, Cuckoo is a set-piece machine
Berlinale 2024: Love Lies Bleeding
Love Lies Bleeding is unashamedly weird, violent, sexy, and hopeful
Madame Web
Madame Web is genuinely embarrassing.
Good Grief
Levy crafts an emotionally beautiful and utterly compelling composition in the complexity of grief
Eileen
Eileen is a terrifically multifaceted and abstract approach in a film that questions itself but the audience’s input and perspective
The Kitchen
It is with no pleasure that The Kitchen belongs amongst such soon-to-be-forgotten works
Lift
Lift is a horrendous waste of time and resources
The Curse
The Curse is outstanding, with career-best work by everyone involved in front and behind the camera
Society of the Snow
Society of the Snow is a thematically gripping and visceral experience
Slamdance 2024: Chaperone
Chaperone is a worthy piece of cinematic exploration that sees a wonderful debut for Zoe Eisenberg!
Race for Glory: Audi vs Lancia
Race for Glory: Audi vs Lancia fails to entice a type of energy or personification with its material
The Beekeeper
Thoroughly enjoyable thanks to an ass-kicking lead performance from Jason Statham
Chicken Run: Dawn of the Nugget
Chicken Run: Dawn of the Nugget could not be more underwhelming
Cat Person
Cat Person is an engrossing and engaging but flawed venture
Fallen Leaves
The setting and look of Aki Kaurismäki’s Fallen Leaves is timeless