Hampered by characters that don’t make a lot of sense, a story that is a predictable, convoluted mess, and acting that wouldn’t pass muster in a traveling U.S.O. company, ‘Susu’ does just about everything wrong.
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Warren Cantrell
A touching tribute to a true titan of American theatre, ‘Every Act of Life’ is a fine documentary whose only real failing is a reluctance to challenge its subject or the viewer.
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‘Return to Mount Kennedy’ simultaneously finds a way to relay an old story about American royalty while fleshing out one man’s journey to reinvent himself and reconcile the self-harvested demons of his past.
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Thematically inconsistent at times, there’s two portions of ‘Afghan Cycles’: both of them considerate, important, and very well made.
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‘Sadie’ is a film about a small community whose children are a litmus test for a bigger world moving in a dark direction.
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‘The Russian Five’ is an engaging peek behind professional hockey’s iron curtain, and is stocked full of laughs, tears, blood, and stitches.
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A half-Woke fever-dream populated by big ideas and half-finished epiphanies, ‘Bodied’ is a bad film with a lot of good ideas.
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The affecting drama ‘After the War’ kicks off our coverage of the 2018 Seattle International Film Festival (SIFF).
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Housing the look, feel, and story beats of a noir mystery thriller, ‘Terminal’ fails to capture any of the magic or narrative elements that propel these stories to greatness.
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A clumsy assemblage of characters and moments that flirt with authenticity and relevance, ‘Kings’ starring Halle Berry and Daniel Craig, has an idea of what it wants to be, yet can’t put the pieces together to make it work.
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Opening Friday at Screenland at Tapcade, The Endless is an interesting and well-conceived psychological thriller with heart.
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Wild Salomé is a meditation on obsession, both in its subject, but also by way of the form of artistic expression itself.
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A political farce of the highest caliber, ‘The Death of Stalin’ is equal parts funny and terrifying.
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Now playing at Screenland at Tapcade, this twisted Lolita-ish neo-noir stars Sophie Turner from ‘Game of Thrones.’
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‘The Forgiven’ adds up to a disjointed, confused, technically deficient movie with uneven acting laid over subject matter that leaves little room for error.
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