Allegedly based upon a hundred true stories, The Day Shall Come, directed by Chris Morris (Four Lions), is another comedy satirizing the theatrics involved in t...
The issue of matching approach to subject is always a central concern in documentary filmmaking, even moreso than narrative films. Due to the truth claims invol...
The nature of promise displayed by a new filmmaker can sometimes be an inherently risky proposition. For every Orson Welles or Jacques Rivette, who burst out of...
Sauvage/Wild opens with a gay hustler in a doctor’s office. As he discusses his ill health—his cough, his odd stomach pains—the camera, like the examiner’s hand...
A funny, light, and heartfelt situation comedy, Go Back to China finds a fashion school graduate Sasha (Anna Akana) in her father’s toy factory after she’s cut ...
A charming remake of the Belgian comedy Hasta La Vista, inspired by actual events, Richard Wong’s Come As You Are is the story of three men with various disabil...
Filmmakers and cinephiles undoubtedly remain haunted by certain urban legends in film. When my mother told me about Snuff, an alleged South American snuff film ...
A brief and ugly affair, Tito is a weird for the sake of weird midnight cult film that overstays itself welcome by design: the patriarchy and its byproduct of o...
Framed with a haunting letter from his grandfather Jack, Everybody’s Everything is a messy portrait of deeply flawed rising star Lil Peep, who passed away at ag...
Set in the pre-broadband era of Las Vegas, 1998, Numa Perrier’s Jezebel is a sensitive rather than exploitative look at legal, entry-level sex work that’s reali...
