The Canadian survival drama Angelique’s Isle is about as standard and unsurprising as these sorts of films tend to get, but that doesn’t mean it’s shoddily made or told without a fair degree of conviction.
Heartwarming and sweet, The Peanut Butter Falcon might follow a road movie trajectory that’s familiar to most audiences, but that doesn’t make its overall premise and approach any less original or enlightening.
Documentarian Max Lewkowicz’s Fiddler: A Miracle of Miracles is likeable and well researched examination of one of Broadway’s most successful musicals and pop culture’s biggest phenomenons.
Touch Me Not, the first feature effort from Romanian filmmaker Adina Piatilie, is a peculiar, but valuable docu-fictional examination of sexual frustration.
Angel Has Fallen shambles around from scene to scene as if it hasn’t even seen its ridiculous predecessors, content to take everything far too seriously for something this idiotic.
A jaw dropping visual marvel, but not much of a cinematic essay or tone poem, the gorgeous, but somewhat hollow documentary Aquarela would be a lot more impactful in a shorter or even broader form.
The Death and Life of John F. Donovan doesn’t play like a work from one of the most confident filmmakers in the world today. It comes across more like three films of varying quality stuffed uneasily and unconvincingly into a single package.
The effectively simple and fast paced survival thriller Ready or Not offers up one final blast of giddy, gory fun just as the summer is wrapping up.
An eye opening and humane examination of the ways the modern global economy and shifting workplace attitudes have impacted the middle and lower classes, Julia Reichert and Steven Bognar’s documentary American Factory should be required viewing for anyone who ever questions why unions or labour movements are necessary and vital.
Instead of playing a ripe premise for camp value, The Divine Fury takes itself pretty seriously. Sometimes it works, sometimes it doesn’t.