Brian Tallerico

Under Potrykus’ clever direction and with a striking performance from Joshua Burge, Marty goes from quirky to desperate to dangerous gradually and effectively. He’s not a character to be taken lightly, or quickly forgotten.

It is an infuriating reality that The Hunting Ground exposes. I was rattled watching it, finding it hard to catch my breath and harder still to imagine how many people are in positions of power who have heard these stories so many times and turned their backs on victims.

So while the subject of “Prosecuting Evil” is a 4-star one that should be taught in more schools, the sometimes-dry and often-repetitive film about it is a 3-star one.

There are elements here, most of them embedded in another great physical performance from Garret Hedlund, that keep Burden from completely sinking into the Carolina mud.

Inspired by tales of people on the fringe by Mike Leigh, Sean Baker, and the Safdie Brothers, “Urchin” stays committed to presenting Mike’s story without frills, recognizing that it’s just a tragically common one of a man spiraling down the drain of society.

Hopefully, Prophet’s Prey will give those women the power to escape and make their voices heard.

Genndy Tartakovsky brings back all the fan favorites from the previous two films and sets them all on an overcrowded, doomed cruise, but the thin plot feels less engaging than the previous films and the jokes less inspired.

The blurring of that line between performer, reality, and fiction adds another layer to “Jim and Andy” that Kaufman would have adored. And Carrey likely does too.

Black Souls isn’t quite the great film the international cinema buzz machine has touted it to be in some circles, but it is a very good one, the kind that ends with such gravity that you feel its weight for a while after.

What’s interesting about The Wave is stepping back and considering just how well-constructed the whole thing is. The slow-burn build-up is just long enough, the disaster itself is just harrowing enough and the final act is just intense enough to keep us engaged.

A few of the daringly ambitious punches don’t completely land, especially in a frenetic final act, but it’s a minor complaint for a film that confirms that Glass is a major talent with an uncompromising vision.

There are key elements of Suzume that directly speak to the history of Japan and the fears of its people, but Shinkai’s gift is his ability to make the issues of trauma and anxiety feel like everyone’s. “Suzume” isn’t quite the masterpiece that is “Your Name” but I wouldn’t blame anyone for falling in love with it.

Hicks avoids the traditional bio-doc route by turning Keep On Keepin’ On into more than just CT’s story, chronicling how the legendary musician continues to inspire young artists to this day.

The Amusement Park is a concise film (only 52 minutes), but Romero packs it so full of detail and ambition that it contains more to appreciate than most films that run three times as long.

mother! is at times horrifying, at times riveting, at times baffling, and at times like nothing you’ve ever seen before.

Logan is the rare blockbuster that could be a game-changer. It will certainly change the way we look at other superhero movies and how history judges the entire MCU and DC Universe of films.

Any diehard King fan will tell you that the author’s biggest problem is endings. For years, it was almost a joke that King didn’t know how to wrap up even his best books. His ending for Gerald’s Game is atrocious, and you’d be better off turning this off about ten minutes before the credits and just imagining what happens.

To be fair, the slow burn does eventually catch fire and there’s lots of screaming and heavy breathing and dark tunnels and running and what-not. The relatively tense final half-hour is clearly the reason that very smart producer Jason Blum thought this would be a solid follow-up to “Paranormal Activity.” It’s that first hour that is the reason it took six years to (barely) get released.

Cohn never turns Night School into a sob story or a manipulative tale of redemption.

As a character, Yasuko feels a bit underdeveloped, resulting in a late-film character turn that I didn’t quite buy, but every narrative issue in Creepy is overwhelmed by the quality of the filmmaking.

From a filmmaking standpoint, Life’s a Breeze is something of a jumble. There’s a whimsical score that sounds like a Mumford & Sons bridge on repeat that underlines the quirky tone in rather annoying ways.

It looks and sounds great, but should it?

This is more “Reservoir Dogs” than “Ringu.” But whatever box one wants to place it in, it’s a reminder of Kurosawa’s remarkable skill with pacing and plotting, delivering a brisk film that leaves one pondering its themes, especially what it means to live in an era when nothing is real.

Most of all, Rebel Ridge is just a reminder of how thrilling it can be to see a genre piece with this level of artistry.

Midnight Special respects your intelligence, letting you come to its themes emotionally instead of narratively. It is a breathtaking display of visual storytelling, confidently rendered by someone who understands the power of cinema.

One of those quick-witted films in which if one character or plot thread doesn’t work for you, all you have to do is wait a minute for another.

It should be required viewing for everyone in a position of power worldwide, especially those who would choose to enable genocide and stigmatize those who flee it.