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Simultaneously sharp and tender portrait of longstanding family squabbles and resentments finally coming to a head. Achingly affecting performances and poignant details ground it in melancholy authenticity.
A smart, vitally important documentary look at medical marijuana, how it is helping real Americans right now, and why Big Pharma has ignored its healing properties.
This portrait of drug addiction and its impact on a family may be Hollywood sleek and smooth, but its authenticity is in the empathy, in the lack of judgment. Steve Carell is absolutely heartbreaking.
In his latest righteous broadside, Michael Moore takes on Donald Trump as but a symptom of the political rot in the United States. Upsetting, enraging, exhausting… which is just as it should be.
The Hunt for Red October as made by a Michael Bay wannabe who can’t even rise to the level of giving-a-propagandistic-crap. Absurd geopolitics and laugh-out-loud clichés abound; tension and excitement do not.
A minor fan-fiction take on the franchise’s mythology: Hey, maybe middle-aged Laurie Strode likes guns LOL? Nowhere near as feminist or as psychologically incisive as it thinks it is. And it’s not even scary.
This tale of a teenaged girl’s crossing the boundary from childhood to too-early adulthood, simultaneously a portrait of a society quietly yet inexorably collapsing, has a disturbing power that sneaks up on you.
A wholly remarkable film, just barely fictionalized from the lives of its cast of nonprofessional actors, about the indomitable spirit of the women of East Africa. Pili’s life isn’t unrecognizable to women worldwide, though.
Better than the unfunny first one, not as witty as the clever second one. But it has a bit of sly Brexit bite that is very welcome right now. Laugh until you cry!
A self-indulgent, faux-woke mashup of noir crime, black comedy, and Tarantino-esque ultraviolence. Some great performances, including a spectacular feature debut from Cynthia Erivo; shame they’re so wasted.
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