Holland (2025)
21%
“Woozy, oneiric, and ultimately incoherent, the film’s boxed-in environs attempt to mimic the fragile psychology of its childlike protagonist, and — given a tighter and meatier screenplay — might have succeeded. ” –
In Review Online
Apr 4, 2025
Full Review
The Empire (2024)
57%
“With its grandiose pronouncements and blatantly unflattering performances, The Empire might be taken as a post-ironic critique of human meaning, for which cynical laughter and sincere benediction are one and the same.” –
In Review Online
Mar 11, 2025
Full Review
Broken Rage (2024)
86%
“At a tight 67 minutes, and with such glorious irreverence embedded within its form, Broken Rage doesn’t even need its goofs and gags to get the audience rioting.” –
In Review Online
Feb 28, 2025
Full Review
The Klezmer Project (2023)
100%
“The Klezmer Project meticulously subverts its structural expectations in service of a hybridized docu-fiction register, working best both as ethnomusicology and as meditation on its intrinsically whimsical and rewarding process.” –
In Review Online
Feb 28, 2025
Full Review
The Things You Kill (2025)
96%
“Although rightly presented as a psychological thriller, The Things You Kill generally eschews the genre’s more derivative leanings to proffer a disarmingly earnest meditation on identity in crisis.” –
In Review Online
Feb 14, 2025
Full Review
Love Me (2024)
47%
“The longer Love Me goes on — and admittedly its 90 minutes sometimes feel like 900 — the more twee its rendition of the sublime.” –
In Review Online
Feb 4, 2025
Full Review
2073 (2024)
48%
“In its bid to have its cake and eat it, 2073 exploits neither the promise of its speculative open signifiers nor the depths of its pervasive Orwellian metaphor.” –
In Review Online
Feb 4, 2025
Full Review
Ghost Cat Anzu (2024)
67%
“Ghost Cat Anzu is a strange and quietly infectious work... infused with a sense of offbeat immediacy.” –
In Review Online
Nov 19, 2024
Full Review
Daaaaaali! (2023)
95%
“The nagging feeling that soon sets in and doesn’t quite slink away is that Dupieux’s surrealist homage arrives always at a remove: a bit too little, a bit too late.” –
In Review Online
Oct 21, 2024
Full Review
The Line (2023)
80%
“Though admirable in its attempt at ethnographic study, The Line doesn’t fully commit to providing an incisive cross-section of the myriad social dynamics underpinning its subject matter.” –
In Review Online
Oct 17, 2024
Full Review
exergue – on documenta 14 (2024)
“exergue, whose title denotes a space or inscription on a coin that inscribes a symbolic value beyond its practical worth, may ultimately be both futile in stemming the depreciation of hope and necessary as a document of hope’s tenuous possibility.” –
In Review Online
Oct 12, 2024
Full Review
Hostile Dimensions (2023)
86%
“Hostile Dimensions veers closer to pop culture, flaunting its urban legend influences in a storyline of common horror and cosmic action. It’s not half-bad, even if parts of it are undercooked.” –
In Review Online
Aug 26, 2024
Full Review
New Dawn Fades (2024)
“New Dawn Fades works best not so much as a simple exploration of psychological interiority, but as an attempt to exorcize this interiority through pure, unadulterated fantasy.” –
In Review Online
Aug 22, 2024
Full Review
The Seed of the Sacred Fig (2024)
97%
“In its urgent virtuous crusade, The Seed of the Sacred Fig falters as overzealous activism. ” –
In Review Online
Aug 22, 2024
Full Review
Good One (2024)
98%
“The pleasures of Good One, then, lie precisely in its fulgent images, through which the natural and uncharted worlds dispense with stultifying habit and become one.” –
In Review Online
Aug 19, 2024
Full Review
The Dead Thing (2024)
83%
“There’s a decent 15-minute short located somewhere in there, but owing to the puzzling obligations of narrative to its subtext, it’s become six times longer, and correspondingly thinner.” –
In Review Online
Aug 5, 2024
Full Review
Black Eyed Susan (2024)
100%
“Black Eyed Susan excels, on the whole, in its balancing of realism and speculative investigation.” –
In Review Online
Aug 5, 2024
Full Review
Rhinegold (2022)
55%
“What it makes up for in range and an extended runtime, it loses in substance: the facts of the story have a narrativized feel about them, and — more critically — are not so much dressed up as they are inserted pell-mell into a swirling narrative.” –
In Review Online
Jul 25, 2024
Full Review
Skywalkers: A Love Story (2024)
74%
“What marks Skywalkers is just how surprisingly boring it is.” –
In Review Online
Jul 20, 2024
Full Review
The Box Man (2024)
“The eponymous film... assumes familiarity with the source novel and affords, accordingly, little reflexive distance from its weird wavelength. Its satirical subtext proves remarkably elastic, and consequently frustrating and inconsequential.” –
In Review Online
Jul 17, 2024
Full Review
Reunion (2024)
40%
“Mostly a happy-meal bore, dutifully dispensing empty calories of saturated attentiveness and eagerly swiping through a menu screen of variegated sound and color just fast enough to prop up the illusion of hunger.” –
In Review Online
Jun 25, 2024
Full Review
Ride (2024)
71%
“Ultimately, it’s not Allyn’s devout and romanticized portrait of their quiet lives which undercuts the film’s staying power, but rather the observation that Ride, for all its emotional and thematic inroads, doesn’t quite have a center.” –
In Review Online
Jun 13, 2024
Full Review
The Hyperboreans (2024)
100%
“León and Cociña’s fourth-wall antics may prove grating at times,..But their steadfast subversion of narrative norms, instead of capitulating to merely fashionable parodies of creative bankruptcy, captivates through the questions it raises.” –
In Review Online
May 27, 2024
Full Review
Sasquatch Sunset (2024)
72%
“The Zellners’ oddball instincts prevail, and they overplay their hand with toilet humor and an inclination toward the non-sequitur. This, especially in light of the group’s discovery of human habitation, drastically cheapens the premise of recognition.” –
In Review Online
Apr 29, 2024
Full Review
Humane (2024)
71%
“Sadly, the bulk of Cronenberg’s well-intentioned if anodyne effort falls flat in its attempts to make sense of the ideological carnage that has lent plausibility to its dystopian scenario in the first place.” –
In Review Online
Apr 26, 2024
Full Review
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