The film’s title isn’t just referring to the past, but what everyone involved witnesses in their communities everyday. By letting this fester and not confronting it dead on are we not saying we’re fine with being “barbarians’? It’s a credible question the filmmaker leaves you to ponder in private.

It’s a sign of how quickly it feels like the world is being torn apart around us that even a ripped-from-the-headlines documentary, such as Karim Amer and Jehane Noujaim’s The Great Hack, can feel almost dated.

Tiny is a sobering contemplation on flaws, forgiveness, and redemption that deserves to be recognized.

Into the Ashes could have been a better film if only Harvey was less interested in making a by-the-numbers revenge exercise.

Berman ultimately turns his incredible meta-story into an ode to documentary filmmaking. And its exhilarating stuff because you have absolutely no clue where this movie is going to take you next. Berman’s doc keeps pulling the rug from under you, and it’s a high-wire act of reinvention that rewards the viewer at every step.

Some movies aim for lofty vulgarities; this one aims low and hits all the marks. ... The result is tone deaf, dated, never sexy nor funny enough to grab our interest. What could have been good fun becomes a perpetual drag of jaw-dropping crudities and cringe-inducing antics that were seemingly written and directed by a horny teenage boy with no sense of taste.

It’s a compelling watch to be sure, this nearly unhinged desire to democratize the access to art, and ultimately an offer that’s too hard to resist.

Without a marriage of inspired storytelling, straight up regurgitation doesn’t elevate new tech. Also, thinking about could and should, one needs to consider good taste, but that’s clearly not driving any of the decisions here.

A comedy that’s really quite hyper-violent, a little nasty in tone, and never as funny as it should be. [SXSW work-in-progress review]

It takes a huge leap of faith to go along for the ride, but Boyle’s impassioned, viscerally paced, and well-directed movie is so heartfelt, even the biggest pessimist will likely begrudgingly warm to it, flaws, and off-key notes and all.

Ultimately, Spider-Man Far From Home turns all its intelligent themes into a triumphant story of self-belief for Peter Parker.

McCarthy’s film manages to balance an audacious reinterpretation inside a loving ode to the original.

The film succeeds as a fun, late-night moviegoing experience, though those looking for something more substantial or memorable, may want to just wait for the next ‘Conjuring’ film and hope it overcomes the hex of the series’ increasingly conventional routine.

Maiden simultaneously functions as a timeless ode to passion and a reflective account of a fascinating highpoint in the history of women’s involvement in the sports industry.

For a film that literally isolates its characters from the rest of the world to confront each other head-on, the drama plays more conventional than challenging.

In keeping with the movie’s mission of being many things at once – a rom-com, a thriller, a low-budget actioner – Murder Mystery also makes an honest if flat attempt at sentimentality that, admirably, is never meant to be taken as an emotional core so much as a springboard for an action-packed finale.

While the reboot possesses a campy charm that advanced ironists are bound to find entertaining, an eerily effective score from Bear McCreary and a scene-stealing performance by Brian Tyree Henry, none of this is remotely enough to make up for a sheer lack of imagination.

Once the flood of heavily redacted documents starts flowing in, Boundaoui’s measured but righteous indignation bends toward what she calls the gray “dangerous place” between paranoia and the truth.

Admirable, ambitious and impressive, but ultimately aloof, Midsommar has its delights for sure, but it lacks the emotional depth to match the sharp insights it has into the evils of the ambivalent, wishy-washy relationship (run as fast as you can).

Containing some of his most open reflections and most electric performances, Rolling Thunder Revue is a terrific addition to the Dylan film canon and an absolute must for Dylanophiles.

Although Miller invests heart and soul into the performance, maybe even career-best work from the actress, and the rest of the cast, especially Hendricks, are excellent, Ingelsby’s screenplay foolishly decides to lay its interests on Deb’s terrible taste in men rather than her daughter’s disappearance.

Leto sadly feels more like the conclusion of summer than the start of the year’s brightest season, and is too devoid of energy to warrant a recommendation to anyone other than diehard fans of Serebrennikov’s prior work.

Despite its sometimes questionable jokes, provocative cultural trolling and a shaky plot, Shaft isn’t either a full-on misfire nor blaxploitation rejuvenation. Instead, Shaft is a decent, if slightly tepid, action comedy anchored by a hilarious performance by Samuel L. Jackson.

For how much Changeland mostly feels like a story grounded in reality, its dream-like conclusion—or lack thereof –kills, with lethal injection, any belief that a journey has actually taken place.

Cooley bursts out of the gate in his directorial debut with high energy, tight storytelling, a rousing adventure, laugh out loud comedy, charming new characters, and most importantly, a tender, and dare I say personal, core.

Whatever the case may be, MIB International is a failure on just about every level, and instead of 3D glasses, movie theaters should be handing out the neuralizers at the end instead to help us all forgot the cringe-worthy memory of what we just watched.

Its atrocious, expository dialogue, cumbersome plot, whiplashing character motivations, unintentionally funny moments, and often corny costumes, ensures, Dark Phoenix will be remembered in the annals of mediocre movies (and for somehow utterly wasting Jessica Chastain, Michael Fassbender, Jennifer Lawrence, and James McAvoy in the same film).

As a primer for deeper dives, including Wadleigh’s film, it’s mainly successful, contextualizing the events and providing some never-before-seen footage. Yet for those already versed in what transpired on Yasgur’s farm, Goodman’s film is really just playing the hits.