All My Friends Hate Me: A Great Horror-Comedy for the Socially Anxious (Tribeca Review)

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All My Friends Hate Me: A Great Horror-Comedy for the Socially Anxious (Tribeca Review)
Holler: Strive To Survive (Review)
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Collective: Timely Documentary Rewards Patient Viewers (AFI Fest Review)
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The Palace on the Sea: A Poignant Look at Life After Death (Taiwan Film Festival Edinburgh)
The Father: Hopkins Ages Like a Nice Chianti (Review)
I’ve Got Issues: Dark Comedy Heart with a Gentler Soul (Review)
White Riot: An Energetic, Rebellious Documentary About Punk Versus Racism (Review)
The Devil All The Time: Slow-Burning, Gothic Crime Drama Achieves Greatness At The End (Review)
Where the Seagull Flies: Conventional Melodrama Doesn’t Take Off (Taiwan Film Festival Edinburgh)
Another Round (Druk): A Boozy Joy Highlighted By A Splendid Mads Mikkelsen (Review)
One Night in Miami: “It’s Been A Long Time Coming, But A Change Is Gonna Come” (Review)
The Bay of Silence: A Thriller With Payoff, But Not Enough Setup (Review)
Akilla’s Escape: Classic Noir Style Melds Beautifully with Modern Themes (Review)
Penguin Bloom: Naomi Watts elevates a formulaic drama (Review)
Nomadland: Frances McDormand Anchors an American Odyssey for the Ages (Review)
Genus Pan (Lahi, Hayop): Looking Back to Find Ourselves (Review)
The Bride Who Has Returned From Hell: An Entertaining Yet Flawed Drama (Taiwan Film Festival Edinburgh)
Six Suspects: A Melodramatic Murder Mystery that Delivers All the Genre Tropes (Taiwan Film Festival Edinburgh)
Unpregnant: Female-Led Road Trip Comedy is Touching, Timely, and Terrific (Review)
The Book of Vision: Sincere but Reductive (Venice Film Festival Review)
Get the Hell Out: A Riotous, Albeit Unfocused Zombie Comedy (TIFF 2020 Review)
Sons of Denmark: A Provocative Political Thriller and an Urgent Warning (Review)
A City Called Dragon: A Solid, Crowd-Pleasing Wuxia Thriller (Taiwan Film Festival Edinburgh)
Mainstream: “No-One-Special” To Fill Up Your Life (Review)
Buoyancy: A Thrilling Drama on Thailand’s Human Trafficking Industry (Review)
Ice Poison: A Desperate Life on the Edge of Poverty (Taiwan Film Festival Edinburgh)
Rent-A-Pal: A Bizarre Look Into Loneliness (Review)
Nocturnal: A profound Portrait of Fragility (Review)
Pacific Rim: Proving There is a Place for Kaiju Films in Western Cinema
Bacurau: a gripping Western Parody with All the Good and Bad Elements of Brazil’s Society
I’m Thinking of Ending Things: Charlie Kaufman’s Latest Is Cryptic Yet Captivating (Review)
Mulan (2020): Honorable Adaptation Misses the Mark (Review)
Get Duked!: Scotland’s Version of “The Hunt” Brings the Laughs (Review)
A Kid Like Jake: Tepid Family Drama Lacks Direction (Review)
Waiting for the Barbarians: Mark Rylance Excels in Poignant Drama (Review)
The Exigency: Cinematic Passion Shines Through Inferior Animation (Review)
The New Mutants: Not worth the Wait After Three Years of Development Hell (Review)
Bill & Ted Face the Music: Another ‘Most Triumphant’ Trek Through Time (Review)
The Binge: Yet Another Teen Movie (Review)
Tenet: Christopher Nolan’s Time-Bending Thriller is Magnificent (Review)
Away: A Compelling Animated Survival Story (Review)
System Crasher: Lightly Denting the System (Review)
Epicentro: A Dense Documentary With a Lot to Say (Review)
Hidden Away (Volevo Nascondermi): How to Call Ourselves Living Things (Review)
The Sleepover: Spy Kids 2020 is a Blasé Disappointment (Review)
Chemical Hearts: Teen Melodrama Connects Thanks to Great Leads (Review)
Unhinged: Russell Crowe’s Raucous Road Rage Thriller Terrifies (Review)
The One and Only Ivan Struggles to Walk the Tightrope of Drama and Wonder (Review)
Words on Bathroom Walls: Love, Schizophrenia & Teenage Wisdom (Review)
Ava: Intimate Family Drama Lacks Dynamism but Tackles Worthy Subjects (Review)
Random Acts of Violence: Ambitious but Flawed Horror Is Catnip for Gorehounds (Review)
Tesla: An Unconventional Biopic With Little Spark (Review)
Jallikattu: Visceral Thriller Explores the Brutality of Man (Review)
Boys State: The Case For and Against the Future of American Politics (Review)
Project Power: Bland Superhero Drama Fails to Thrill (Review)
The Great Gatsby: An Iconic Narrative in Baz Luhrmann’s Signature Style (Review)
The Tax Collector: LaBeouf is Great, the Film is Not (Review)
An American Pickle: Effective Dramedy Showcases Rogen’s Talents (Review)
The Secret Garden: Gunfire and Birdsong (Review)
37 Seconds: A Heartwarming Journey of Self-Discovery (Review)
You’ve Been Trumped Too: A Brave Investigation On Politics, Power and Greed (Review)
Sunrise: A Song of Two Humans (1927) – Hollywood’s Shining Moment in A Forgotten Era (Review)
Howard: Honoring the Legacy of Disney’s Legendary Lyricist (Review)
Perfect 10: A Breezy, Middle-Class Twist on the Teen Crime Drama (Review)
Yes, God, Yes: Short Film Narrative In Feature-Length Time (Review)
I Used to Go Here: Life at its Most Authentic (Review)
She Dies Tomorrow: A Compelling Pandemic of Existential Dread (Review)
The Way Back: Ben Affleck’s Career Best Performance (Review)
Peripheral: Psychedelic Paranoia meets Tech Body Horror (Review)
Miss Americana: Taylor Swift Sheds Her Secrecy and Shares Her Story (Review)
The Hater: Overbreadth and Inconsistent Tone Sink a Good Premise (Review)
Cold War: An Epic Romance on a Small Scale (Review)
red penguins
Red Penguins: How American Capitalism Tried to Infiltrate Russian Hockey (Review)
Circus of Books: An Endearing Family Saga and a Feat of Cultural Nostalgia (Review)
“Once Upon a Time in Hollywood”: One Year Later
The Rifleman: Previously Banned WWI True Story Successfully Captures the Intensity of War (Review)
The Kissing Booth 2: A Surprisingly Improved Sequel (Review)
Radioactive: Poor Writing Stops the Film from Glowing (Review)
Mulan: A Flawless Feminist Fable That Stands the Test of Time (Review)
Miss Juneteenth: “Looks Ain’t Enough to Survive” (Review)
The Spook Who Sat by the Door: Revolution in Action (Review)
The Outpost: an Excellent War Film Elevated by Smart Direction (Review)
First Cow: A Minimalist Frontier (Review)
The Boat People: A Filipino Post-Apocalyptic Fantasy (Review)
Fatal Affair: Netflix’s Lifetime Movie is a Bumbling Mess of Bad Writing (Review)
Inception: Nolan’s Engrossing and Enigmatic Epic Endures (Review)
Rebuilding Paradise: Ron Howard’s Crisp Next Step as a Documentarian (Review)
The Goldfinch: An Adaptation that Failed to Take Flight (Review)
An Elephant Sitting Still: A Masterclass in Despair (Review)
The Painted Bird: Torture Porn for Intellectuals (Review)
“Arthur & Merlin: Knights of Camelot”: A Return to the Myth’s Origins (with some hesitation)
House of Hummingbird: Poetry in Motion (Review)
Love Sarah: No Sarah, but Plenty of Love (Review)
The Old Guard: Humanity Elevates Comic Book Action (Review)
Palm Springs: The Terrific “Time Loop” Comedy for the Troubles of Today (Review)
Greyhound: Lean WWII Thriller Excites with a Detail Oriented Approach (Review)
Ghostbusters: A Blockbuster Blend of Horror and Hilarity
Masters of Love: A Refreshing Take on Recognizable Rom-Com Tropes (Review)
Guest of Honour: An Entertaining yet Messy Exploration of Family (Review)
Relic: Australian Indie Horror Disguised as a Family Drama (Review)
Disappearance at Clifton Hill: A Mesmerizing, Mind-Bending Mystery (Review)
Hanagatami: Nobuhiko Obayashi’s Cinematic Testament Mesmerizes Audiences (Review)
Little Girl: This Film Should Not Have Been Made (Review)
Inheritance: A Privileged Life Tainted by a Shocking Secret (Review)
Hamilton: the Most Magical Thing on Disney+ (Review)
Desperados: Lazy Netflix Comedy Fails to Entertain (Review)
Minions: From Silly, Simple-Minded Sidekicks to Spin-Off Sensations
Saint Frances: “You Can Have Faith in People Too” (Review)
Mighty Oak: One Rocker Goes, Here Comes Another (Review)
A White, White Day: How Ghosts Still Echo (Review)
Family Romance LLC: A Tantalizing yet Flawed Exploration of the Everyday (Review)
Roger Waters: Us + Them: Psychedelic Rock Fans Rejoice! (Review)
Skyman: ‘Close Encounters’ for Found Footage Fans (Review)
Last and First Men: A Chilly Facade and an Intriguing History (Review)
Irresistible: Jon Stewart’s Scathing, Sharp-Witted Satire Soars (Review)
Eurovision Song Contest: The Story of Fire Saga: A Surprisingly Kind, Good-Hearted Comedy (Review)
Dreambuilders: A Magical Adventure in the Hidden World Behind our Dreams (Review)
My Spy: Dave Bautista Shines in a Messy Family Comedy (Review)
Top Gun (1986): Pure Pop Culture Phenomenon or Pro-War Propaganda? (Review)
Mr Jones: a Messy, Well-Acted Journalistic Thriller (Review)
Fanny Lye Deliver’d: Kind of Clever, but Ultimately a Bit Weird (Review)
Anthropocene: The Human Epoch – How humans are changing the Earth’s face for the worst (Review)
7500: “Phone Booth” on a Plane is Tense and Fun (Review)
Dads: Howard’s Cute Doc Led Me to Mull My Own Role as a Dad
The Girl with a Bracelet: Smart French Legal Drama Focuses on the Details (Review)
You Should Have Left: Keep Away From This Kevin Bacon Thriller (Review)
Wasp Network: the Cover is Blown on this Tepid Spy Tale (Review)
Little Joe: A Cold and Lifeless Bio-Thriller (Review)
Jaws: Hollywood’s Greatest Shark Movie (Review)
Bull: Rob Morgan’s Excellent Performance Makes Bull Riding Drama Come Alive (Review)
The Ground Beneath My Feet: Witnessing the Woes of the Modern-Day Working Woman
Babyteeth: A Devastatingly Honest, Surprisingly Fun Coming-of-Age Cancer Drama (Review)
Becky: A Breezy but Bloody Brawl with a Brutal Bag of Tricks (Review)
Da 5 Bloods: Spike Lee Entertains and Educates in a Harrowing History Lesson (Review)
Artemis Fowl: Dismal Disney+ Drop Disappoints (Review)
The King of Staten Island: Apatow returns to his comedy throne (Review)
Candyman: Chronicling the 1992 Horror Classic’s Continuing Cultural Significance (Review)
Michael: The Model and “the Painter of Pains” (Review)
You Don’t Nomi: The Resounding Legacy of a Cult Masterpiece (Review)
Here’s Why Hereditary is already on its way to classic horror status (Review)
On The Record: A Brave Illustration of the Black Woman’s Burden (Review)
Mädchen in Uniform: A Film You’ve Seen, Even if You Haven’t (Review)
Calm With Horses: Sentimental Education, Irish-Style (Review)
A City Called Macau: a propagandistic narrative wastes a great story setting (Review)