Review: Shal Ngo’s ‘Control Freak’
“‘Control Freak’ is a timely example of a modern horror film that doesn’t resonate with general audiences but appeals to worldwide film critics through its performances and overall quality.”
Building the New Queer Canon #2: Bruce LaBruce’s ‘The Visitor’
“In contemporary queer cinema, there isn’t a work like ‘The Visitor’ that’s even dared to tackle the wider-ranging relationships between disadvantaged communities on the receiving end of society’s scorn.”
Review: Atom Egoyan’s ‘Seven Veils’
“‘Seven Veils’ wears its heart on its sleeve like a John Cassavetes drama, and teases the audience like an M. Night Shyamalan thriller.”
Glasgow Film Festival Review: Uberto Pasolini’s ‘The Return’
“Using striking, elemental images, ‘The Return’ taps into the ancient power of Homer’s epic story.”
Glasgow Film Festival Review: Yugo Sakamoto’s ‘Baby Assassins: Nice Days’
“The secret weapon of ‘Baby Assassins: Nice Days,’ as with the other franchise films, is Mahiro and Chisato’s chemistry.”
Review: Carter Ward’s ‘Step Back, Doors Closing’
“‘Step Back, Doors Closing’ is essential viewing for Gen Z movie lovers, Washington D.C. natives and anyone who remains entranced by Linklater’s ‘Before Sunrise.'”
Glasgow Film Festival Review: John Maclean’s ‘Tornado’
“‘Tornado’ is thoroughly gripping, often gorgeous and altogether unique…”
Review: Zeshaan Younus’ ‘The Buildout’
“With a brisk running time of approximately 64 minutes, ‘The Buildout’ showcases a storyteller in harmony with a specific cinematic vision about life, death, trauma and healing through friendship.”
Review: Cody Kennedy and Tim Rutherford’s ‘The Last Video Store’
“‘The Last Video Store’ is a nostalgic horror production that talks the talk and walks the walk.”
Review: Eric McGinty’s ‘Stockade’
“‘Stockade’ will polarize viewers with its flimsy cultural commentaries.”
Review: Osgood Perkins’ ‘The Monkey’
“Perkins’ fondness for dark comedy has seen him regress as a filmmaker between projects by over-indulging in offbeat, irritatingly quirky laughs to the detriment of his horror storytelling.”
Short Film Review: Miss Dylan and Spencer Wardwell’s ‘Sweet Talkin’ Guy’
“If the aim of ‘Sweet Talkin’ Guy’ was to function as an intervention for single men everywhere, then Miss Dylan and Spencer Wardwell couldn’t have done the job better.”
Review: Drew Hancock’s ‘Companion’
“‘Companion’ is fiercely, unabashedly feminist.”
Animation First 2025 Review: Michel Hazanavicius’ ‘The Most Precious of Cargoes’
“‘The Most Precious of Cargoes’ may be illuminating for younger viewers at face value for how it doesn’t shy away from the horrors of war from a survivor’s perspective…”
Review: Kyle Mooney’s ‘Y2K’
“I imagine that Mooney most likely pitched ‘Y2K’ as a mash-up of ‘Superbad’ and current trends, and that’s exactly how it goes down — a bunch of derivative gags in a feature film format for nostalgic pop culture consumers.”
Building the New Queer Canon #1: Isao Fujisawa’s ‘Bye Bye Love (Baibai Rabu)’
“‘Bye Bye Love’ is very enjoyable, but its central story is neither as involving or as subversive as it perceives itself to be when leaving the frankness of its bedroom scenes behind.”
Review: Andy Crane and Nathan Shepka’s ‘Dead Before They Wake’
“Crane and Shepka’s exploration of the human condition in ‘Dead Before They Wake’ justifies a second watch, though their cinematography could use some work the next time around, in terms of establishing a specific style.”
Review: Jeff Celentano’s ‘Blackwater Lane’
“‘Blackwater Lane’ suffers mightily from pacing issues, uninspired acting and a flimsy screenplay.”
Review: Bruce David Klein’s ‘Liza: A Truly Terrific Absolutely True Story’
“Even though ‘Liza: A Truly Terrific Absolutely True Story’ might leave fans wanting more, Klein’s documentary will presumably be the go-to Minnelli doc for years to come, based on the subject’s participation and an interview cast of high-profile names.”
Review: Kaveh Daneshmand’s ‘Endless Summer Syndrome’
“The narrative truth in ‘Endless Summer Syndrome’ lies in what goes unsaid and what’s just outside the frame.”