Sometimes, a movie feels like it’s on the verge of something. Maybe it’s an explosion or an argument or a big decision, but it just doesn’t quite get there. To...
"Misha checked every box for the type of woman we seek to interview,” states a radio host with a pleasingly mellifluous voice at the start of Misha and the Wol...
If you happen to maintain your own personal garden and feel stressed about the upkeep, look no further than Salomé Jashi’s visually striking observational docu...
Following in the footsteps of last year’s Boys State, Maisie Crow’s At the Ready is another documentary about an education program in Texas that pushes young p...
This year, because Sundance is a virtual festival operating in the midst of the coronavirus, there’s a tendency to label any depiction of isolation and mass hy...
In rural New Zealand, Hoaggie (Erik Thomson) rides in the passenger seat. His wife, Jill (Miriama McDowell), is driving and their sons Maika (Billy Paratene) a...
One of the most succinct, yet heavily weighted lines of dialogue in cinema history is a three-syllable call to death: “Time to die," as Rutger Hauer’s Roy Batt...
The 57th directorial credit in his vast filmography, Sion Sono's Prisoners of the Ghostland premieres at this year’s Sundance before his 56th, Red Post on Esch...
Set in the meeting room of a modest Episcopalian church, two couples meet under tragic circumstances. For his directorial debut Mass, accomplished actor Fran K...
There’s something very crass about Cusp, and almost all of that comes from its design. It’s aimless like its subjects, and it’s even more hopeless. Everyone wo...
