Sacha Baron Cohen is indeed back as his most famous alter-ego, Borat, exposing America’s darkest impulses in this sequel to the 2006 smash hit.
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warren cantrell
Stand-up comedy is friggin’ hard, sure, yet it pales in comparison to the difficulty of making a film about it, which ‘The Opening Act’ demonstrates.
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‘The Devil Has a Name’ has a few bright spots thanks to its cast, yet never manages to bring all its pieces together in a way that makes good use of them.
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Today’s Top 10 list is a celebration of the films that got pandemics more or less correct from the micro or macro (or both) side of things.
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A quick-cut assault on the senses brimming with flashbacks and text overlays, ‘Get Duked!’ feels like an 85-minute TikTok video.
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A genre-bending romp through the old west that mixes cowboys with cauldrons, ‘The Pale Door’ is bloody good fun.
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A suspense thriller desperately short on suspense, ‘The Silencing’ feels less like a fully formed movie and more like the first cut of a first draft.
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‘The Tax Collector’ has an interesting premise, yet is a cobbled together mess of almost-art that recycles interesting components of better work.
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‘Yes, God, Yes’ is a decent flick that takes a run at a very real, albeit uncinematic, moment in every person’s life (sexual discovery).
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If a person ever asked themself what it might have looked like if Alfred Hitchcock screwed around in the slasher genre, ‘The Rental’ might be the ticket.
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In ‘The Rental,’ the acting’s competent, the score ups the tension fairly effectively, and the game of waiting to see whose secrets and failures will be discovered (and how) is entertaining enough.
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‘Mr. Jones’ is a well-acted, timely, and important film that nevertheless finds itself bogged down by the larger narrative and choppy character work.
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Well shot, tightly scripted, and superbly acted by Joseph Gordon-Levitt, ‘7500’ soars.
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A blood and gore-soaked romp through a Home Alone-esque scenario with 21st century sensibilities, ‘Becky’ is all sorts of fun.
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A jumbled, chaotic mess of imagery, character sketches, bad jazz, and even worse storytelling, ‘Adrift in Soho’ is just that: adrift.
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