Boasting a wide array of A-list movie stars and behind-the-scenes power players who are willing to talk about gender disparity, discrimination, and sexual harassment in Hollywood, the documentary This Changes Everything comes at a perfect time to make an impact, but if you already know how difficult it is to be a woman in a male dominated industry, director Tom Donahue’s impassioned work won’t offer up much of anything you didn’t already suspect.
As broad of a comedy and cultural lecture as you’re likely to ever see, the Italian-Canadian production Road to the Lemon Grove is packed with the sort of old country humour that some viewers will devour with vigor and others will find painful to sit through.
Brittany Runs a Marathon is a charming and thoughtfully written dramedy with a wealth of depth and heart that closes out the proper summer movie season on a strong note.
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.