parasite

Ken’s 2020 Oscar Predictions

The shortened awards season this year has caused yet more confusion on the always-befuddling road to the Oscars. The chaos of having all of the major guilds and groups vote in such tight, overlapping timeframes has led to much debate on

the-farewell-movie-sundance

Ken’s Top 10 Films of 2019

Continuing with our 2019 list extravaganza, here’s Ken’s top ten movies of 2019. For more thoughts from Ken, be sure to give our year-end podcast a listen here or on your preferred podcast service. To check out everyone’s amazing 2019 lists,

corporate animals 4.5

CORPORATE ANIMALS Review

You can see the movie that Corporate Animals wants to be, as there are instances when its wild mixture of satirizing capitalism, horror comedy and peculiar banter create some moments that succeed in being uniquely funny.

Emily (Molly Shannon) and Susan (Susan Ziegler) lying in bed - WILD NIGHTS WITH EMILY - Courtesy of Greenwich Entertainment 7.5

WILD NIGHTS WITH EMILY Review

Wild Nights with Emily poses fascinating questions on how popular understandings in history are formed and often manipulated.

_ND50388.NEF 5.5

YARDIE Review

Inspired direction can’t save Yardie from a formulaic script.

quake 2 5.5

THE QUAKE Review

Though the movie is capable, it’s missing the extra push to keep it away from using to the familiar tropes it wants to avoid.

7_BerkeleyStill 6.5

FAIL STATE Review

Shebanow’s driving energy is always apparent although sometimes it’s left, frustratingly, just out of reach.

Film Title: First Man 7.5

FIRST MAN Review

It’s a movie with an unwavering faith in the lessons we can learn from the past, but it shuns inappropriate nostalgia or uncritical revisionism.

Sadie-at-etsu-2 7

SADIE Review

Sadie is, above all, a meditation on life spent without access: to money, to answers, to safe outlets for confusion and anger.

tea-with-the-dames-trailer-still 7.5

TEA WITH THE DAMES Review

The film’s greatest asset is its ability to convey the lively spirit of the conversations without feeling selective or artificially emphasizing points, beyond spare bursts of archival footage or the occasional question posed from Michell himself.