Breakout writer/director Rachel Tunnard’s low-budget, low-runtime debut feature is a brilliantly funny and endearing look at the weight of grief, fear, adulthood and a lesson in learning how to carry it all.
Somewhat functioning as a journey film and sightseeing tour where the script constantly hops between some of the most “groovy” weirdos New York’s outsider culture can offer up, we bear witness to their inane (possibly improvised) rantings without the film deciding if they are objects of mockery, endearment, fascination or otherwise.
A film that’s perfectly suited for a January release, Escape Room offers a bit of entertainment, but fumbles the ending, resulting in an experience that’s not nearly as intellectually stimulating or rife with team-building opportunities as a real escape room.
If you’re sitting on the couch this Christmas, cuddled up with family around the TV, watching Home Alone and thinking “this isn’t nearly traumatizing enough for my kids,” then do I have a title for you.
In a year with so many notable entries in the annals of cinematic history, it’s a shame that it ends on such a sour note, with the release of one of the most unflinchingly dismal titles to grace the screen in 2018, Holmes & Watson.
There may be more creative or more technically composed documentaries out there, but I have never in my life seen a documentary, or any film for that matter, that made me care about the people on screen as much as American Street Kid.
With its bare-bones plot, lackluster characters and foolish adherence to slasher tropes, Leprechaun Returns is a film that, despite some excellent effects work, should have been left at the bottom of the well.
Marking her feature directorial debut, Bridey Elliott makes a splash with Clara’s Ghost, a dysfunctional family comedy with a supernatural twist featuring her real-life family as the drunken cast of characters.