Tony Hinds

Outrage Coda is not a great film, nor an essential one, but it accomplishes what it sets out to with gallows humor and a deeply cine-literate style.

This is Our Land’s biggest flaw lies in the bluntness of its message and approach.

While intermittently fascinating in its attention to detail and its provocative thesis, Suchsland’s verbose essay film never successfully surpasses the realm of mere academic curiosity.

Too often, we’re left with an arguably less-than-great artist (Eli Roth? Mick Garris?) in talking head form, blandly praising Hitchcock’s work. 78/52 is at its best when the shower is running and we’re engaged with the making of this notorious murder scene.

While Hong Kong Trilogy is ultimately an empty and unfocused misfire, it’s still rather watchable in its failure, thanks to Doyle’s remarkable visual approach.

The Force examines one of the most talked about issues in America from an ideal vantage point, revealing disheartening complexities with an intriguing momentum.

Killing Ground’s twists might be effective, but stylistically speaking, it’s sub-Eli Roth.

Dunning is a documentarian’s wet dream, as honest and forthcoming as he is eagerly collaborative, which makes for a wildly entertaining, if occasionally self-indulgent experience.

By Sidney Lumet provides audiences unfamiliar with his work a window into the heart and mind of one of the most important filmmakers of all-time.

I Called Him Morgan hooks you from the first moments and glides effortlessly toward an emotionally impacting and enigmatic conclusion.

Perhaps only of merit to the hardest of hardcore Van Damme completists, Kickboxer: Vengeance is a rehashed, lackadaisical outing in need of goofy silliness and campy flair.

A pensively maudlin Hallmark commercial, if such a thing exists, Five Nights In Maine aspires to the levels of high-minded, heart-wrenching tearjerkery, and falls short.

Kopple’s camera catches fascinating snapshots of Sharon Jones at her most charismatic and alive, a true artist who cannot help but see the world differently.

The film rarely builds any level of suspense, mood, or atmosphere, and when it briefly does, the screenplay hasn’t a clue what to do with it.

Nelson’s screenwriting voice is unpretentious, approaching earnestly grounded characters with a deliberate lack of sentimentality.