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THE DROWNING Review

The Drowning uses every trope in the book, throwing everything at the screen, hoping something might stick.

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HOUNDS OF LOVE Review

From its ominous, yet beautifully shot opening - a super-slow-motion tracking shot of girls playing on a playground - it’s quickly evident that we’re in for an intense experience with Ben Young’s feature debut, Hounds of Love.

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Overlook 2017: LIKE ME Review

While lacking in much substance, Like Me acts as a visually arresting social commentary, which is not about a hypothetical dystopian future but instead about a future we’re already living in that, for better or worse, is something we need to accept.   

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WHAT REMAINS OF EDITH FINCH Review

As the world of videogames and cinema inch closer together, from time to time I’ll play a game that I think is worth discussing on this site, and the recently released What Remains of Edith Finch happens to be one of them.

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TIGER RAID Review

War is a nasty, dirty, ugly thing, and Simon Dixon’s directorial debut, Tiger Raid, conveys this hell on earth by telling the story of two despicable mercenaries on a mission to perpetrate a kidnapping in Iraq.

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TAKE ME Review

Although the concept of someone paying money to take part in a simulated abduction may sound ludicrous, it’s a very real thing and is the subject of Pat Healy’s directorial debut, Take Me.

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THE CIRCLE Review

There’s a good movie living somewhere inside The Circle, but it’s been incessantly recut, switched around, shortened in the wrong places and extended in other wrong places, and then all mixed up and served in one perplexingly bland concoction.

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Tribeca 2017: DEVIL’S GATE Review

Feeling a lot like the recently released, and far more entertaining, The Void, Devil’s Gate simply rehashes a plotline we’ve seen many times before but doesn’t add anything of value to it.

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Tribeca 2017: FLOWER Review

With all-star performances from Zoey Deutch and Joey Morgan and a touching, funny, slightly disturbing (in a good way) script, Flower is one of the best indie comedies I’ve had the pleasure of seeing this year and one that should not be missed.

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RUPTURE Review

Using played-out torture porn tropes, Steven Shainberg’s sci-fi horror film Rupture feels like a Syfy channel pilot released in the early aughts that never made it to series.

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Tribeca 2017: MR. LONG Review

What makes Mr. Long so endearing is its beautiful simplicity in how it examines humanity and the often-inexplicable connections between us.

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Tribeca 2017: I AM EVIDENCE Review

Succinct and poignant, I Am Evidence is an important telling of a shameful side of our legal system, and one hopes that activists will continue to help make the system itself more accountable.