|
Black
Phone 2
|
Black Phone 2 is a lesser effort than its predecessor, but in its
own way, the sequel is almost as admirable as a game.
|
Truth
& Treason
|
Co-writer/director Matt Whitaker's Truth
& Treason arrives at a time when people would do well to
take its lesson to heart.
|
Frankenstein
|
The film's horror is in the first chapter, but
its unexpected payoff in the second half is how much compassion the film brings to its depiction of its
monster.
|
|
The
Twits
|
The movie, unfortunately, doesn't
live up to the promise of its satirical conceit.
|
Grow
|
The tone of Grow bounces between silly
and sincere.
|
Blue
Moon
|
The film is
equally entertaining, because it is about smart and self-aware people talking to
each other with intelligence and understanding, and filled with anguish.
|
|
The
Mastermind
|
This film is as quiet and unassuming a heist story as the
protagonist himself.
|
Ballad
of a Small Player
|
The movie ultimately becomes a bit too
self-important for its own good.
|
After
All
|
The
movie is finely performed melodrama with flashes of the character-based drama it
might have been instead.
|
|
Exorcism
Chronicles: The Beginning
|
The narrative of Exorcism Chronicles: The
Beginning is constantly torn between setting up some bigger picture and actually telling a story that stands on its own.
|
Stiller
& Meara: Nothing Is Lost
|
The documentary almost comes across as a misguided act of
therapy.
|
Other
|
This horror tale goes from
routine to ridiculous by the end.
|
|
Köln
75
|
Writer/director Ido Fluk shows a real sense of
passion for the music itself and the hands-on work of getting that music in
front of an audience.
|
Delivery
Run
|
Co-writer/director Joey Palmroos struggles to make much
of his familiar premise.
|
Good
Fortune
|
Good
Fortune has a fantastic comedic premise, but its execution mostly leaves one
hoping someone else might have another try at the conceit one day.
|
