
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.
|