At this point, A24 is just stacking the deck in their favor this year. Joe Talbot’s sweeping tale about friendship and gentrification, The Last Black Man in San Francisco, was one of many films …
Miracle Workers Review: Steve Buscemi and Co. Introduce “Existential Doom” to Heaven
Miracle Workers gives us a heaven that is run like a factory, with the majority of angels in the role of office drones and low-level factory workers. Most of them have been there for thousands of year…
‘Honey Boy’ Review: Shia LaBeouf Delivers His Most Personal Performance Ever | Sundance 2019
It’s no secret that our traumas define us. They shape our decisions, relationships, and how we see the world. What doesn’t get shared often enough, though, is an articulation of personal t…
‘Mike Wallace is Here’ Review: A Documentary Fit For A Legend | Sundance 2019
The heyday of TV journalism wields many iconic figures behind the camera. Walter Cronkite, Dan Rather, Barbara Walters, the list could be quite extensive. Going into Mike Wallace is Here, a new docume…
‘Relive’ Movie Review: A Cell Phone Time Machine That Drops The Call | Sundance 2019
Films are wonderful vehicles for wish fulfillment, so it makes sense that time travel gets as much play as it does as a genre device. Great films use a variety of character motivations to justify the …
‘To the Stars’ Review: Love and Friendship are a Beautiful Gray Area | Sundance 2019
Whenever a filmmaker decides to set their film in black and white, the question has to be asked: Why? The answer may say a lot about how well the overall film works, independent of any cinematography …
‘Velvet Buzzsaw’ Review: You’re Probably Not Ready for Dan Gilroy’s Arthouse Horror | Sundance 2019
The relationship between critic and art is one fraught with dangers of compromise, hypocrisy, and a cynicism as deep as it is wide. “Art,” of course, applies to film, television, video gam…