Read up, before you pay $5 for a bucket of popcorn.
V.27 No.30 | 7/26/2018
Don’t Worry, He Won’t Get Far On Foot
True-life tale of alcoholism and cartoons is unexpectedly uplifting
Don't Worry, He Won't Get Far On Foot is a disarmingly empathetic biopic that surprises with its sincerity and its down-to-earth charm.
V.27 No.29 | 7/19/2018
Sorry To Bother You
Upward mobility gets weird in off-kilter comedy
Sorry to Bother You is not the work of a practiced, disciplined filmmaker. It’s the work of a manic, committed, wildly creative first-timer.
V.27 No.28 | 7/12/2018
Farming documentary hopes to influence food choices
Eating Animals spends its time talking about sustainable alternative solutions to factory farms, giving in to neither hardcore carnivores nor militant animal lovers.
V.27 No.26 | 6/28/2018
Courtesy of Film Movement
The Great Silence
Classic Italian Western is restored to its cold, dark glory
Sergio Corbucci's 1968 masterpiece The Great Silence has been digitally restored for its 50th anniversary and it's brutal, uncompromising and visually sweeping.
V.27 No.25 | 6/21/2018
Courtesy of The Orchard
Genre-bending crime thriller incorporates documentary techniques in its true(?)-life narrative
American Animals intercuts interview footage of the real-life people behind the story with scripted scenes of the actors portraying them, but subverts the docudrama trappings.
V.27 No.24 | 6/14/2018
This mountain is certainly high, but not very deep
Australian writer-director Jennifer Peedom’s rather bluntly titled Mountain could have easily expanded its title to Mountains: What Are They, and Why Are They So Popular?
V.27 No.22 | 5/31/2018
Solo: A Star Wars Story
The now-divisive franchise has fun with a propulsive prequel
Solo: A Star Wars Story, isn’t (and can’t be) all things to all people, but does just about everything it conceivably can to earn the praise of moviegoers.
V.27 No.21 | 5/24/2018
Stark drama tackles postwar Europe’s Dirty Little Secret
1945 plays out as an inevitable march toward an unavoidable, dreadful confrontation. A bill is coming due, and there are a lot of people unwilling to pay up.
V.27 No.20 | 5/17/2018
The Merc With a Mouth comes again
If you have no idea who freakin’ Shatterstar is, you’re still going to get some rock solid belly laughs out of Deadpool 2, but the deeper your knowledge of early-’90s comic books, the more you’re going to feel fan-serviced.
V.27 No.17 | 4/26/2018
You Were Never Really Here
Art house action flick and its main character both feel bad
You Were Never Really Here enters the genre of cathartically violent shoot-’em-up story of emotionally wounded assassins and their doomed betrayers/targets but fails to provide an overall logic to the bloody proceedings.
V.27 No.16 | 4/19/2018
Artistic biopic revels in surface details
Final Portrait is a microcosmic chamber drama, an old-fashioned two-hander in which two characters meet, interact and part company. It rarely dips below the surface, but—like a great many works of art—it’s a fascinating surface, nonetheless.
V.27 No.15 | 4/12/2018
Back to Burgundy
Siblings resolve family strife over a glass of wine in a French dramedy that goes down easy, evaporates quickly
Back to Burgundy may not be complex, but the bottle is awfully pretty. Just don’t go into it expecting something other than perfectly palatable table wine.
V.27 No.14 | 4/5/2018
Isle of Dogs
Meticulously animated feature is a fantastic(al) journey
Akira Kurosawa’s scruffy aesthetic is undoubtedly what’s fueling Isle of Dogs’ creative engines. Feel free to discuss at length—over third wave, cold-brewed coffee, perhaps—whether Wes Anderson’s miniaturization of Japanese culture asks audiences to laugh with or at the stereotypes.
V.27 No.13 | 3/29/2018
The Death of Stalin
Stalin meets slapstick in brutally funny political satire
The Death of Stalin is a manic comedy with occasional doses of slapstick, with some of the bleakest gallows humor in recent memory.
V.27 No.12 | 3/22/2018
Icy family drama will make you glad you don’t live in Russia
Loveless is a stark, dark, often beautifully bleak “feelbad” family drama wrapped around the hardened core of a procedural crime thriller. It is, in short, an extraordinarily Russian film.