Once Upon a Time… in Hollywood, the ninth (and possibly second to last) film from writer-director Quentin Tarantino is precisely the kind of love letter to old school cinema, television, music, and aesthetics that one would expect from a brainy movie brat with an eye for exceptional visuals and fine details and an ear for snappy dialogue.
Get outside this summer and enjoy the sun and fresh air, but when you’re ready for a break on the couch, what movies are you going to stream? Check out my top suggestions for the best summer movies, from comedy, action, and drama, to science fiction and horror.
The independently produced drama The Garden Left Behind (which makes its latest appearance on the festival circuit this weekend at Outfest in Los Angeles) is a passion project for both the people who made it and the New York City trans and immigrant communities it depicts.
Free Trip to Egypt is an effective, lightweight documentary designed to tear down misconceptions many westerners have about living in the Muslim world, and while many of the insights shared between varying cultures won’t be too surprising to most of the people predisposed to see such a film, it’s still rather nice to see.
In 1985, actor and rising star Mark Patton was given the opportunity of a lifetime, and it’s one that he has spent most of his looking back with equal parts love and malaise. Not long after, he disappeared from the public eye. The documentary Scream, Queen! My Nightmare on Elm Street looks at why that happened.
Canadian documentarian Larry Weinstein’s latest effort, Propaganda: The Art of Selling Lies, won’t be all that eye opening to anyone well versed in media studies or those who pay close attention to the news, but as a primer on the nature and creation of “fake news” and political and social mythmaking, it works just fine.
I’m not quite sure what to make of the oddball, bloody, deadpan black comedy The Art of Self-Defense, but I’m positive that it’s the kind of film that’s going to stick with me for a long time.
Sword of Trust, the latest film from indie movie veteran Lynn Shelton, takes a lot of metaphorical comedic cues from its titular object, and not in the most complementary of ways.
Roads in February, the quietly stunning and impressive debut feature from Canadian filmmaker Katherine Jerkovic, is one of those rare films that can tell volumes worth of story without saying many words.
Writer-director Lulu Wang’s autobiographical family drama The Farewell is the rare kind of overwhelmingly honest, carefully observed, and unabashedly emotional filmmaking that words simply can’t do justice because the feelings being expressed throughout are impossible to define with any degree of precision.