Michael says: “POSER starts off promisingly enough, with Lennon, a introverted young woman who starts a podcast to profile the indie musicians populating the vibrant Columbus, OH music scene. She attends shows and interviews a variety of musicians, adding in
Michael says: “I watched this bizarre Australian musical after hearing about it on the Brattle’s podcast. I was intrigued because it was the second feature narrative film by the talented director Gillian Armstrong; a very bizarre follow-up to her amazing
Chris says: “The poster and the premise might lead one to expect another low-budget, mean-streets-of-Boston crime drama; thankfully, this goes a little deeper than that set-up. 25 years after a traumatic event that we only see fragments of until its full
Laura says: “German cowriter (with Marie Noelle)/director Peter Sehr gets points for trying something different, but his radical choices, incoherent storytelling and truly head-scratching ending add up to an intriguing failure. Star Adrien Brody has always been interesting to watch,
Michael says: “This one was actually released in 2020, but I missed it for eligibility. I saw it reviewed on a friends Facebook page, and it sounded really intriguing, it had a pretty good rating on Rotten Tomatoes, and a
Chris says: “Shows ample promise but ends up squandering a lot of it, unfortunately. Gentrification’s a tricky subject to address from all angles; while this one is not without nuance, it ends up a rather arty way of saying ‘You
Michael says: “FREELAND started off promising, as Devi (Krisha Fairchild), a former hippie and successful marijuana dealer with a large farm in California, struggles to transform her grass-roots, (illegal) sole proprietorship, into a legitimate business in competition with big national distributors,
Chris says: “Matt DeHart, a ‘hacktivist’ charged with a crime he claims he didn’t commit is a fascinating subject for a doc/expose, but this format, heavy on reenactments and shocking reveals, does him no favors. In the tradition of CITIZENFOUR,
Chris says: “The first half-hour, which mostly consists of an extended tracking shot is not only an impressive technical feat but also an effective choice in what it depicts (a nerve-wracking home childbirth.) However, the remainder vindicates my mixed feelings
Michael says: “This curious French first feature directed by Stéphane Batut, a Casting director with nearly 80 films, including Claire Denis’ FRIDAY NIGHT and LET THE SUNSHINE IN, and Laurent Cantet’s TIME OUT is stars off with an intriguing premise, and