Wading through Burt Reynolds’ personal archive makes THE BANDIT much more than a simple behind-the-scenes doc.
Jonathan Demme’s exuberant concert film captures fleeting moments of intimacy embedded in a Justin Timberlake arena spectacular.
Nicolas Winding Refn’s fashion thriller is a simplistic and empty tale of clashing egos and sexuality that places the director’s suffocating visual maximalism front and center.
The debut feature from Cris Jones is a would-be mindbender about time and memory derailed at the outset by its overbearing approach to plot and the utter simplicity of its script.
Guy Maddin, Evan Johnson and Galen Johnson turn in a bizarre and hilarious essay film in the guise of a behind-the-scenes feature on a big-budget war movie.
Brady Corbet’s debut feature film is a bold and evocative portrait of a dysfunctional, privileged family wrapped up in one of the most important events of WWI.
Tobias Lindholm’s follow-up to 2012’s A HIJACKING sees him working in a familiar mode, a mostly stark presentation of an ethical dilemma lifted by some impressive performances.
Martin Zandvliet’s LAND OF MINE is a mostly repugnant stab at the humanist war film.
Travis Wilkerson’s MACHINE GUN OR TYPEWRITER? is a restless and oft-entrancing piece of agit-noir, merging the avant-garde with a well-worn narrative trope to tell a political tale with mysterious participants.
10 CLOVERFIELD LANE isn’t just a limp counterpart to the 2008 creature feature, it also exists as a messy jumble of ideas, genres and performances that never coalesce into anything of real interest.