Sumner Forbes

I’m not sure where Schrader’s career will take him after Master Gardener, but here’s hoping the next decade is as impressive as the current one.

Throughout Hadas Ben Aroya’s All Eyes Off Me, we’re privy to a level of intimacy not often seen.

Their chemistry as performers together is particularly noticeable, so it’s a shame more focus wasn’t given to keeping the three of them on-screen together as much as possible.

While Dead for a Dollar may not make one toss out their copy of The Searchers, it’s still a refreshing change of pace seeing three excellent actors in an uncommon genre. When it comes to its originality, though, we’re left watching the tumbleweeds float on by.

The Becomers may not have the largest budget, but it has the largest heart.

Those who may not care quite as much about the economic messaging underpinning the film may still find Dinklage careening through windows and getting seduced by hot graduate students worthy of the time investment. Still, there’s no denying that this could have been so much more.

The film’s most tremendous success is its willingness to address difficult questions about Switzerland’s past.

Occasionally fun and constantly deranged, it’s a film that could have been much more with a modicum of restraint. I gave the worms a shot, but I think I’ll stick to eating worms of the gummy variety.

This is an inspiring and emotional watch with one’s mom, and there’s nothing wrong with that.

There’s no shortage of entertaining moments in To Catch a Killer, but that won’t stop audiences from wanting more. Other than the performances from Woodley and Mendelsohn, there’s not a lot to grab onto, which would help distinguish this from countless other entries of this ilk.

Maybe Banderas wanted to capitalize on the popularity of the Taken or John Wick franchises, which is entirely understandable. For a man used to covering a wide range of genres, the role of the older action star is one with a certain degree of cultural cache. The Enforcer, though, just isn’t the right vehicle.

This is a poignant examination of the many forms of love. Even if one isn’t totally on board with the lifestyle at the center, it makes it hard not to wonder what that seemingly mild-mannered couple you know might be up to when the shades are drawn.

It works as a powerful mediation on the optimism lost for a peacefully cosmopolitan Lebanon.

Adieu Godard is generally a blast. Cinephiles will love it because it should, without fail, bring to mind our own journeys into “challenging” cinema. Casual viewers not well-versed in the New Wave catalogue will still find plenty of enjoyment in the chaos that erupts as a result of the backlash against the film.

The value of Petit Mal is in the performances and formal flourishes that disrupt the actors’ rhythm work against one’s overall enjoyment. Even so, there’s always a place for filmmakers willing to tell distinctive love stories, and one involving a lesbian throuple in Colombia certainly fits the bill.

Instead of a taut coming-of-age drama, we seem to have gotten a surfing movie that happens to have a skeleton of a story.

Rare is the film that refuses to moralize the actions of its characters, and boy, does this make Acidman refreshing.

It’s impossible to escape the allusions to faith throughout the film. It may not be everyone’s bag, but Benson uses it in a relatively unobtrusive way that doesn’t seem like an exercise in proselytizing.

The rise of anxiety is a serious problem with no real end in sight. Films like Anxious Nation are important for spreading the message. However, the only realistic way to change attitudes on mental health is to normalize seeking care and to make more people aware of the solutions.

Ultimately, those hungry for a film that prioritizes a great performance over cheap thrills will not be disappointed.

The conclusion of Astrakan is a riveting, almost revelatory experience that is vastly different from anything seen prior. It may be hard to digest for some, but it adds additional layers to the motion picture and colors the events in a completely new light.

Trying to do too much in the span of ninety minutes is an insurmountable impediment to the success of Shadow Island. Still, even so, there’s a period of 30 minutes in the film that really gels together.

As much as I find Eckhart and Dobrev to be a fun duo surprisingly well-suited for a movie like this, Harlin’s action opus is just begging for a rewrite and a jolt of originality.