Rob Rector

At times as gaudy as Flynt’s gold-plated wheelchair, it also depicts the dream of a country that refuses to sit down and remain silent.

To both the filmmaker and subject’s credit, neither feel that the transition to Zoey should excuse past behavior, and the director lets her sit with her thoughts. She processes her actions in front of the camera as she surveys the wreckage of her life. This is what makes Whirlybird such a wholly unique story, ultimately resonating as a portrait of a deeply flawed person.

If you bought into the messy magic of the first film, you will undoubtedly find much in which to revel with its successor.

It’s unfortunate that Knocking is so muddled as Milocco is thoroughly engaging. Plus, Kempff demonstrates a visual strength and confidence that will serve her well when she gets ahold of a script that is a bit more grounded than the one here.

Farha, writer/director Darin Sallam’s debut, is so effective because it views the conflict through the eyes of a child, one with hopes and dreams and has no role to play in the ensuing battle. It asks viewers to remove their preconceived opinions of the struggle and approach it solely on the human toll that results from living through such tumult.

Tippett himself said he did not intend Mad God to adhere to any strict narrative structure, so it’s best to merely soak in the sumptuous, detailed visuals and extract your own meaning from the journey. It’s a ferociously engaging, if slightly flawed, viewing experience.

Throughout, the film is an idiosyncratic mediation on a pesky emotion that can simultaneously bond us and tear us apart. And with Pink and his exquisite cast behind The Wheel, the audience is in great hands.

Despite its slight story and tiny budget, the music that pulses through the heart of the film buoys it above its limitations.

Like all of its predecessors, its overtly political message can’t decide whether its violence is justified or glorified. This means it sits right at average.

A Quiet Place: Part II offers another round of impressively staged set pieces, a few cheap (but damn effective) “gotcha” jumpscares, and a heavier dose of those spindly, flower-headed aliens.

As we all creep back into the theaters from our COVID cocoons, it serves up just the right amount of cinematic comfort food to keep us coming back for another serving.

make|SHIFT serves as a lively look into the ad landscape. It also is an inspirational account for young artists looking to enter the marketing/advertising industry.

The whole movie feels like an overlong Kickstarter set up for a The Disaster Artist-like treatment. Honestly, that would provide a far more fascinating story than the pureed plot provided here.

Both Glass and Clark provide enough ambiguity throughout (are we witnessing supernatural influence or the active imagination of an unreliable narrator?) to keep us engaged and marking the debut of a powerful new cinematic voice.