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A FUTILE AND STUPID GESTURE Review

National Lampoon was in no way politically correct, and this film uses that fact to call attention to the legitimate problems with the magazine at the time and the people writing it, making them the butt of many a joke for being out of touch even then.

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Slamdance 2018: FAKE TATTOOS Review

Fake Tattoos is a lovely first feature, even if at times it feels like the French Canadian punk version of a number of different romantic films from Garden State to Before Sunrise.

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Sundance 2018: SWEET COUNTRY Review

“It would be the Christian thing to do,” said the visitor, looking to take advantage of the host’s hospitality. The host (played by Sam Neill – who, while compelling in Taika Waititi’s Hunt for the Wilderpeople – feels out of place in

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CALL ME BY YOUR NAME Review

Joy is in short supply these days, and I wish everyone finds something that gives them as much joy as Call Me By Your Name gave me.

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DARKEST HOUR Review

When you already have the heartwarming Their Finest and the compelling Dunkirk to come out this year, this by-the-numbers World War 2 movie simply feels inadequate for our times.

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THE KILLING OF A SACRED DEER Review

It is not an exaggeration to call the film entrancing, drawing you into each scene with perfect filmmaking and perfectly surreal acting to force you through two hours of dread.

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GEOSTORM And The Beautiful Mess of Disaster Films

The critics at the Cahiers Du Cinema had a practice in the first decades of the magazine to let admirers of a given director review that director’s films. The thought was to give those with the best chance of seeing a film’s

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THE MEYEROWITZ STORIES Review

Baumbach’s recent output has all been distinctly happier than his first few films, but the underlying personal crises seem more devastating.