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[Cannes Review] Grace of Monaco

A tracking shot slowly moves around a blonde princess on a Hollywood set. We follow the applause as she leaves for the final time and into her dressing room, le...

[Review] Moms’ Night Out

Entertaining in moments, but not terribly progressive, Moms' Night Out presents an aspirational film that we rarely see in -- dare I say -- the “secular media,"...

[Review] Legends of Oz: Dorothy’s Return

Early on in Legends of Oz: Dorothy’s Return, our tornado-riding, dimension-hopping heroine realizes that the world she’s come back to is a very different, dimin...

[Review] Godzilla

With ballooning budgets, waning attention spans and constant pressure to deliver the best (or rather the most) CGI, Hollywood's contemporary crux on throwing ev...

[Review] Palo Alto

In the opening shot of Gia Coppola’s feature-length debut, Palo Alto, the camera slowly zooms in from afar on a parked car where two teens, Teddy (Jack Kilmer) ...

[Tribeca Review] Intramural

Opening with the fitting quote “I get knocked down, but I get up again" (attributed to Vince Lombardi instead of the British pop band Chumbawamba), Intramural i...

[Tribeca Review] 1971

Perhaps the lessons in history class have changed in the era of transparency, however, the 1971 burglary of an FBI field office in Media, PA seems to have been ...

[Tribeca Review] Every Secret Thing

Every Secret Thing effectively melds the sensibilities of its director Amy Berg (best known for her feature documentaries Deliver Us From Evil and West of Memph...