Jourdain Searles

Prism doesn’t provide us with easy answers, because it can’t. This is something that we all must confront together, and that confrontation is on-going.

Dark, unnerving and thrilling, The Novice is poised to become a genre-breaking success. A film this raw made with such a steady, assured hand only comes along once in a while. We should take notice.

Overall, Les nôtres fails to dive into the depths of its subject matter, hinting at a dark underbelly that it never full explores.

Riegel seems to still be hung up on Winter’s Bone, making a slavishly imitative film with few flourishes that allow it to stand on its own.

The film is a staggeringly impressive debut, blending color, sound and story to create an intricate emotional tapestry.

Cobb’s face is a canvas for a world of yearning that can’t fully be revealed to us because she doesn’t have the language to articulate it yet. That truth allows the film to feel both specific and universal at the same time.

Strawberry Mansion is a movie about the preservation of imagination. There is definitely an undercurrent of anti-corporate messaging that is always relevant in this modern media landscape. But these themes are not presented with a heavy hand. The point that the film is trying to make can be taken as lightly or as seriously as one likes. What Audley and Birney seem to want most is for audiences to allow themselves to be overtaken by their deliberately childlike approach to storytelling.

Kelly Oxford’s debut feature Pink Skies Ahead is the kind of coming-of-age comedy that is destined for cult status, if not full-on indie success.

MLK/FBI indeed serves as a chilling reminder that white supremacy is not solely a partisan problem; it’s a cruelty baked into the fabric of our political system, poisoning it at every level.