Brett says: “DADDIO is the first feature film from director Christy Hall. This is a one-location, two-character film that unfolds within a cab ride from JFK Airport to Hell’s Kitchen. Hall is a playwright through and through, so it may
Brett says: “HUMANIST VAMPIRE SEEKING CONSENTING SUICIDAL PERSON has one of the year’s top tier titles, and first-feature director Ariane Louis-Seize offers some memorable cinematic moments to accompany it. The title covers the premise in full, as Sasha, a young
Michael says: “Like a longer version of a good episode of Black Mirror as a woman travels back in time to prevent her husband’s death… but that’s good, isn’t it? Judy Greer is terrific. 3 cats “(Available streaming on Hulu; For
Chris says: “Probably funnier than 2003’s CAMP; also, it’s not quite WAITING FOR GUFFMAN but much closer to it than I was expecting. Upon watching this months ago, I wrote, ‘Give Noah Galvin his Independent Spirit Award nomination already,’ and
Diane says: “‘No one wants to be a psychopath.’ Signe takes a perverse route to get attention and even fame, when she’s neglected by her rising artist boyfriend. Funny, weird Norwegian satire with a cameo by my fave Anders Danielsen
Brett says: “The genre western-comedy does not exactly have a long list of acclaimed representatives to its credit. In fact, the all-around rugged, image-conscious, hidden-emotions heroic quality of westerns usually means that attaching the word comedy to it is an
Tom M. says: “Had a great time at CONFESSIONS OF A GOOD SAMARITAN. Penny Lane is such a trip and the kidney donation narrative had a personal tie for me.” Diane says: “Documentary director Penny Lane (LISTENING TO KENNY G,
Diane says: “My third film ‘at’ Sundance: “Young Indonesian rapper James arrives in Hawaii to record his first album. He’s recently dumped his father as manager, replacing him with a much more savvy woman from LA. But Dad won’t stay
Diane says: “Based on a story that appeared in the New Yorker a few years ago and ignited controversy, this 2-hour adaptation takes us out of the narrator’s head and pushes Margaret Atwood’s observation as far as it can go:
Michael says: “Claire, you had me for almost 90 minutes until Joe Alwyn’s Daniel blurts out a painfully earnest, but still sadly wooden ‘I love you,” to Margaret Qualley’s Trish in this erotic political thriller. I guffawed so suddenly that Eddy