It’s a parody, a biopic, a comedy, a tragedy, an experimental film, and God knows what else. It may sound crazy to say, but The Other Side of The Wind is quite possibly Orson Welles’ most ambitious picture and that might explain why it remained unfinished for so long.

Though Liyana often feels more like an exercise in storytelling than a complete narrative, it is heartwarming to see the kids light up as they work together to create art out of their hardship.

Like a brooding nightmare, Burning washes over audiences with passing visions of multiple lives, secrets and betrayals, all leading to no single, clean-cut or simple explanation.

We’re left with a perhaps too tidy ending that picks up the spirits but doesn’t delve into the questions about human nature that the movie raises. Had it dug a bit deeper, it might have been something more than the overall pleasant entertainment vehicle that it is.

What saves Adrift from an instant wreckage is Woodley’s performance, but still, it’s preferable to read the facts than cope with its cinematic adaptation.

Everett looks at home in this role and breathes new life into Wilde. The Happy Prince proves that Rupert Everett was born to tell the tumultuous story of a kindred spirit. Oscar Wilde would be proud.

The action is dumb, the plot is weak, and the story is pitiful. Venom is a bad movie, yet surprisingly I still loved the hell out of it.

Try as I might, I just wasn’t all that invested in the fate of Alex and Sean or their own private close encounter with the third kind. Which is a shame as the filmmaker shows a keen flair for creating both an interesting visual and aural palette.

It’s a film that will surprise you if you give it a chance.

Strip out the thriller moments and you have an interesting film, instead, we’re left with a mediocre thriller that phones in the final act.

Celebrities. Privilege. Debauchery. Hedonism. We’ve all heard the stories about the most infamous (and legendary) nightclub of all time, Studio 54, but we didn’t have all the facts…till now.

Bomb City isn’t a phenomenal effort for a first-time director, it’s a phenomenal film, period.

Non-Fiction is incredibly witty, fast-paced, and unmistakably French.

After a slowly developed first section, the low-key indie drama gets some grittiness coming from the hostile relationships, leading us to an offbeat finale that, understandably, may be classified as pointless or unsatisfying by many viewers.

In the end, you get a sense of what actually happened and what was imagined. However, you are still left feeling uneasy.

The cast in this film is incredible.

The directing style of Strange Nature fails to bring any atmosphere, the acting is so nondescript that it barely registers (with two notable exceptions), and a lack of cohesive vision leaves the movie uncertain of what it truly is. An absolute waste of time for all involved, especially the audience.

If you like unconventional indie comedies, this one can’t be missed.

He has the capacity to both enlighten and infuriate simultaneously, making it impossible to take our eyes away from the beautifully shot trainwreck before us. American Dharma is the height of that signature Errol Morris style.

Serious actors will find a whole new respect for these women and their individual contributions to film and theater, who fought through way through a system made for men and blazed a path for those who followed. And fans of one or all the dames will see the object of their fandom be real, open, and honest.

With characters that we watch but never know and some imitative storytelling, Galveston can’t help but feel like a compilation of cover songs, which, while listenable, are stilted and perfunctory.

Adam Sobel’s 2017 documentary, The Workers Cup is a maddening heart-wrenching inside look into a group of construction workers in Qatar, building facilities in preparation for the 2022 FIFA World Cup.

This is absolutely Eli Roth’s best film. It’s scary, poignant, thrilling, and just a ton of fun.

e-Demon is original, told in a striking, engaging manner, with stellar acting, and a good number of scares.

I really liked that Robert Greene chose to have the citizens of Bisbee play the roles of the strikers and deputies the reenactment. I feel that it really added something special to the documentary.

There are so many wonderful, well-crafted scenes in The Last Suit. Pablo Solarz’ script is a multilayered masterpiece.

Dan Habib certainly has noble intentions in mind with Intelligent Lives. The energetic, ambitious young people at its core are a joy and discovering where they wind up is sweet. However, the documentary never goes far enough to explain vital elements in the civil rights advancements for those with disabilities, and the directing style fails to generate forward momentum.

The Bogarin siblings use many methods of storytelling to tell us the tale of their family, creating an atmosphere in 306 Hollywood that is Errol Morris-meets-Wes Andersen. It’s a beautiful documentary filled with magical realism and most importantly the heart and soul of their grandmother.