Review by Jessica Carr
I just survived a French cannibal movie, and I ACTUALLY LIKED IT.
Read MoreReview by Andrew Swafford
Your Name. is doing the unthinkable: finding extraordinary success solely due to its quality as a good story, expertly told by a visionary filmmaker. Am I dreaming?
Read MoreReview by Jordan Collier
The Void is another horror film marketed as a throwback to the horror golden age of the 80s, when the genre wasn't afraid to be absolutely off-the-wall batshit crazy whether in idea or execution. It’s not going to be remembered for its characters or its plot, but I have a hard time believing it ever would have been.
Read MoreThis list features writing by Andrew Swafford, Lydia Creech, Jessica Carr, and John McAmis
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Read MoreRetro Review by Paige Taylor
If you're scanning through reviews to see if you want to watch this movie, don't watch it just yet. Now's not a good time. If you want to truly appreciate this movie, wait for a day when your mind is clear.
Read MoreReview by Andrew Swafford
Before I Fall stylishly explores the repetitive nature of routine adolescent life in a way that isn’t being appreciated enough.
Read MoreReview by Lydia Creech
The three women at the heart of 20th Century Women relatable and flawed and funny and beautiful, and, frankly, aspirational.
Read MoreReview by Jessica Carr
With Toni Erdmann, German writer/director Maren Ade creates a film that explores father-daughter relationships, the meaning of life and depression all while creating a comedic experience that had me laughing until my sides ached.
Read MoreReview by Lydia Creech
I can’t stress enough how important it is that other voices be heard and listened to, especially in today’s political climate. The effect of hearing Baldwin speak is quite different from the talking head documentary styles of 13th and OJ; I Am Not Your Negro feels more lyrical and associative.
Read MoreReview by Andrew Swafford
Can we talk about violence in the John Wick series? Seriously, can we? Only three years old, this franchise has already become a strange sacred cow for cinephiles who dig genre fiction. Yes, these movies are balletic and immaculately captured on film, but they’re also fascinating--if imperfect--from just about every other angle.
Read MoreReview by Zach Dennis
The Apu Trilogy has become so revered because it asks us to grapple with difficult moments in the main character’s life, but also leaves us with emotional touchstones that generate a desire to return to them.
Read MoreThis list features writing by Zach Dennis, Andrew Swafford, Jessica Carr, Lydia Creech and John McAmis
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Read MoreThis list features writing by Zach Dennis, Andrew Swafford, Lydia Creech, Jessica Carr, John McAmis, and Malcolm Baum
Click below to see the full list!
Read MoreThis list features writing by Zach Dennis, Lydia Creech, Jessica Carr, Andrew Swafford and John McAmis
Click below to see the full list!
Read MoreThis list features writing by Zach Dennis, Lydia Creech, Andrew Swafford, Malcolm Baum, Jessica Carr and John McAmis
Click below to see the full list!
Read MoreReview by Andrew Swafford
I still like the originality of Passengers overall, but the tone of the film always stays on this side of “safe,” gutting the film of its potential to be a gutsy, interesting, original studio genre effort.
Read MoreReview by Andrew Swafford
La La Land is more ambitious than Whiplash in every conceivable way: it is longer, it has a more complicated plot, it doubles the number of artist-protagonists, it upgrades musical performance to musical theater, and it poses significantly more ethical dilemmas about art to wrestle with. I’m going to ignore the film’s obvious cinematic qualities in order to focus on the ethical side—because I’m not sure Chazelle has much to say this time around.
Read MoreReview by Lydia Creech
Godzilla films have always been best when looking politics right in the face, and Anno upholds and updates that tradition here.
Read MoreReview by Ben Shull
Aleksandr Solzhenitsyn once noted that “the line dividing good and evil cuts through the heart of every human being. And who is willing to destroy a piece of his own heart?” That very question is the crux of this film. Evil is ugly, yet a blackened heart begets it again and again and again.
Read MorePersonal Essay by Courtney Anderson
I have to be honest and say that I don’t believe in total “universality” of films, especially not Moonlight. Chiron’s narrative is one that is so often ignored that the idea that “everyone” can find themselves in him confuses me. But I know Chiron.
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