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  • Depraved



    Hell-bent upon finding evidence of ancient monsters in the modern world (often by exploring how they continue to be reflected in the raw stuff of human nature), Larry Fessenden launched his filmmaking career with a Frankenstein story, and he’s been working his way back to the subject ever since. Traces of Mary Shelley’s mad science can be found in many of the low-budget horror movies that his Glass Eye Pix has produced since 1985, and they’re even more apparent in…

  • Us



    US is an audacious & clever trip through the looking glass that asks how Americans are going to live with ourselves after being reminded of who we really are. a lot funnier than it is frightening — a horror movie for a world in which real life is scary enough on its own. Lupitas! that score!

    definitely some bumps in the road, but i was sold on its big ideas. anything more will have to wait.

  • It Started As a Joke

    It Started As a Joke


    Eugene Mirman — a fixture of the comedy world, but known to general audiences as the voice of Gene Belcher on “Bob’s Burgers” — has always had a very particular vision of what comedy can be. A warm and whimsical sort whose jokes (and prop-heavy stand-up) tend to poke fun at the insistent seriousness of being alive, Mirman is the kind of guy who can find humor in just about anything.

    In anything, that is, except for stuffy comedy festivals…

  • The Juniper Tree

    The Juniper Tree


    A film that’s every bit as lyrical and fraught as the T.S. Eliot poem it uses for a preface, Nietzchka Keene’s little-seen “The Juniper Tree” — shot in the summer of 1986, only to premiere at Sundance four years later after a series of financial woes — has long been thought of as the other Björk movie, the one she made before her feral, totemic, Falconetti-level performance in “Dancer in the Dark.” The one Björk made before she was even…

  • Five Feet Apart

    Five Feet Apart


    It’s almost irrelevant that Justin Baldoni’s “Five Feet Apart” is atypically urgent for a YA-flavored romantic drama about the impossible love between two star-crossed teenagers. Or that Haley Lu Richardson manages to pump some blood into even the most contrived moments of Mikki Daughtry and Tobias Iaconis’ script, reaffirming the “Columbus” and “Support the Girls” actress as a generational talent on the rise. It doesn’t really matter that the movie uses emotionally pornographic M83 songs and The Postal Service covers…

  • Wonder Park

    Wonder Park

    The most notable thing about Paramount’s “Wonder Park” — a sugar-addled “My Neighbor Totoro” ripoff with a beautiful message and a hideous everything else — is that the movie seems to have been made without a director. That’s not an insult, it’s a fact: Behold what might be the only IMDb page where the writers get top billing.

    Perhaps that’s a damning indictment of a production that never found its way. More likely, it’s an honest reflection of how most…

  • Everybody's Everything

    Everybody's Everything


    The rapper Lil Peep tweeted 15 times on the day he died. At 1:14am: “Nightmares to u is my life to me.” That was followed by a handful of links to music he liked or wanted to self-promote, a fan retweet of some performance footage, and an emoji-filled reference to his stage name, which the 21-year-old’s loving mom had coined when he was a child. Finally, at 5:01pm, he shared a shoutout to his “biggest fan” Nick Bons, an incarcerated…

  • Pink Wall

    Pink Wall


    The tragedy of Tom Cullen’s “Pink Wall” — a familiar but deeply felt achronological relationship drama in the vein of “Blue Valentine” and François Ozon’s “5 x 2” — is that neither of its central characters know they’re in a movie. The soft lighting, shifting aspect-ratios, and synth-driven music should have been a dead giveaway, but it’s easy to develop a kind of tunnel-vision when you’re in love. If only Jenna (Tatiana Maslany) or Leon (Jay Duplass) had been able…

  • Adopt a Highway

    Adopt a Highway


    Don’t be nervous about the Blumhouse Productions logo at the beginning of the film: “Adopt a Highway,” in which a newly released and totally rootless ex-con played by Ethan Hawke discovers a baby girl in a dumpster, doesn’t follow whatever path you might expect (or fear) that company to take with this premise. Hawke doesn’t harbor any “Sinister” intentions, nor is the baby possessed by demons — only colic. In fact, this sweet and simple little movie couldn’t be any…

  • The Beach Bum

    The Beach Bum


    THE BEACH BUM isn't just the funniest movie i've seen in a long time, it's also final boss McConaughey, where he reveals his true form for the world to see — if he dropped dead tomorrow you'd feel like he accomplished everything he was sent to this earth to do. he's going to be so fucking excited when he learns that he's in this.

    also congratulations in advance to Martin Lawrence, a surefire nominee for the first annual Phoenix Buchanan…

  • The Gift: The Journey of Johnny Cash

    The Gift: The Journey of Johnny Cash


    There have been any number of movies about Johnny Cash, from documentaries like “My Father and the Man in Black” to glorified concert films like “Johnny Cash at Folsom Prison” and an Oscar-winning biopic, “Walk the Line,” but none have expressed the singular power of his solemn voice better than “The Gift: The Journey of Johnny Cash.” A womb-to-tomb oral history that was made with the full support and participation of the late singer’s family (and sometimes feels too close…

  • An Elephant Sitting Still

    An Elephant Sitting Still


    It’s tempting to think of “An Elephant Sitting Still” as a suicide note written with blood in a dirty patch of hard snow. Hard to sit through and impossible to forget, this torpid four-hour anti-drama is suffused with the sort of hopelessness that cinema only sees every once in a long while (Werner Herzog’s “Stroszek” and Béla Tarr’s “The Turin Horse” come to mind), and the man who made it — a former student of Tarr’s — killed himself before…