Bradley Gibson

The 7 rating is for his movie. Vance himself, in his preachy, condescending book, gets it wrong.

Friedkin gives us a master class on the creative process of film and a set of expertly told war stories that thrill and inform. It just doesn’t get better than this.

The Argument winds up being either the most horrifying funny scriptwriting workshop ever, or a really f***ed up version of Groundhog Day. Either way, an exact-science blend of tight scripting and a strong ensemble cast make this film a new comedy gem.

The film explores dark territory but treats the subjects with emotional intelligence and sensitivity.

Usually, films of plays are dull things. Limited access to camera angles, bad sound, lighting that doesn’t work for the movie camera. Theater and film are (appropriately) distinct media. Enter Spike Lee. He’s a master craftsman and his skills are as relevant as ever. Lee made use of all those potential disadvantages to inform his cinematic vision and encapsulate the stage performance into a striking moving picture.

Return to Hardwick is a living, breathing moment from our past, reminding us what has been done, and what can be done.

After We Leave is a shining example of indie filmmaking at its finest.

The Departure is an entertaining film on the strength of the performances. If you enjoy “TMZ” style drama, you’ll need to watch until the end… despite the boys not behaving like men.

This is a long-overdue must-see that sets the record straight for a woman whose whole life was glossed over in favor of a more camera-ready tabloid romance.

The level of craft in Poe’s feature debut exceeds that of directors with more experience and portends a long career with more wonderful art to come. In Selah and the Spades, she has created a new classic tale of power, love, hate, loyalty, and betrayal featuring a stunningly talented cast.

Speed of Life reminds us that the art of our idols, the fire, and the passion, survive the artist and that their immortality is you keeping that fire burning.

Perrier is an undeniable talent and as a first outing, Jezebel is a powerful statement.

This is war as a First Person Shooter, and it’s incredibly effective at putting the viewer in the moment.

Haynes carefully navigates the risky terrain of presenting real people (who are still among us) and facts in a scripted feature film, artfully blurring the lines between documentary and drama.

Call this “Film meh” instead of Film Noir. The only way it could be more pretentious is if it was in black and white. These characters are so unlikeable, you may find yourself hoping Margaret and Henry both get the shit kicked out of them for their arrogance and stupidity.

The mafia murder images are stomach turning, viewers take note. Letizia talks about her life at great length and some of it is redundant, but she is always charming and inspirational, living as a strong, independent woman in a crushing patriarchy.

Her responses and her journey, set alongside her own art, give a unique perspective on that meditation as well as to the crucial importance of art to document our time, to share experiences, and to enhance the quality of life.

Director May El-Toukhy paints an engaging, uncompromising film in bold strokes, never looking away or shrinking from Anne’s boldness to act on her desires, or her willingness to remorselessly do whatever she must to restore the status quo of her life.

For fans of Breaking Bad, it’s a satisfying return to and continuation of the story.

It’s tempting to talk about Making Waves as being educational, but it is not dryly academic, though it does introduce the subject in some detail. This is a fun film to watch, with the interviews and graphics illustrating how the sound comes together, the doc is an exciting behind-the-scenes look at the effort and skill required to create movie sound artfully.

Benjamin Naishtat directs with a steady hand and a strong vision. Pedro Sotero’s cinematography reveals the place and time in a respectful style that captures the period without satirizing it. This is a film that satisfies on every level and bears repeated viewings.

Cash’s film is reflective and accomplished, showing the world through the eyes of a young woman challenged by a painful childhood and by the culture of her times, finding her own way through the chaos around her to a functional adult life.

The dark comedy is subtle, but hilarious. Serious topics bubble up from masterful situational humor.

Overall the pace is a little slow and the film is too quiet, but it’s definitely a notch above typical low-budget fare and entertaining to watch.

The Irish humor and setting make for a lovely time with the film as we get a droll glimpse of daily life in Ireland, and things that are lost and found again.

Yardie is a ripping classic gangster tale done right, but that’s only part of the appeal. It goes beyond the narrative into full cultural immersion with music as the window into a time and place.

The film runs long. Director Rick Alverson could have wrapped up this disturbing meditation in less time and still been as effective at painting his precisely beautiful dark image.

Featuring a mix of fiction and real life, Touch Me Not explores intimacy in an experimental feature film that manages to make sex seem unlikely and tiresome.