When a creative person gets the fullest chance to tell a piece of their autobiographic story through their chosen medium, that’s a special result worth celebrating. Lauren Caster is wonderfully granted that very freedom as she writes, directs, and stars in the gracious independent film Rhythm Is a Dancer.
Read MoreNo son or daughter wants the “Alvin!” treatment from any incarnation of Alvin and the Chipmunks. Olmo isn’t just the title of the new film from Mexican director Fernando Eimbcke that played at the 2025 Toronto International Film Festival and as a Panorama selection at the 75th Berlinale. It’s the word you hear hollered most often, much to the dismay of the character who bears the name, played by Night Swim newcomer Aivan Uttapa.
Read MoreIn many ways, there is no amount of “What the fuck is wrong with you?” questions, bellowed from both sides of this dichotomy, that will ever get to the bottom of the dirty depth being scooped in I Want Your Sex, and that’s a complete plus to the film’s appeal. Splicing comedy to sexual awakening in this day and age is a tall task, and scrambling brains with the jeopardy of fantasy fulfillment is even bolder.
Read MoreThough packaged with plenty of crassness and off-color humor, we’re here for the sideline sweetness and the infectious nature of the approachable sport. If pickleball seems preposterous for those unsure or unaware, like it’s nothing more than ping pong with feet, imagine it packaged as a formulaic sports movie. Like the sport itself, The Dink is a light bounce and an easy good time without anyone over-exerting themselves.
Read MoreThe sleepaway setting has long been a comedy and horror staple, from Meatballs, Friday the 13th, and The Parent Trap to Heavyweights and full-on satires like Wet Hot American Summer, and the delightful and crass new comedy The Floaters follows that in the same vein. It doesn’t matter the specialty or type of camp, assembling a hodgepodge group of characters is a foolproof and fast way of multiplying the classic coming-of-age arc we know and love.
Read MoreMost scientists in the SETI (search for extraterrestrial intelligence) or METI (messaging to extraterrestrial intelligence) fields bank on theories that any real evidence we, as a planet, will get will come from signals more than flying saucers and little green men arriving on Earth. Similar to Contact, Clara, and Ad Astra that came before it, The Outer Threat follows that more plausible and intelligent path and still develops solid suspense.
Read MoreMilly Alcock, thanks to all that posing working in her favor and the patience to hold putting the cape and big red “S” on her until the finale, builds to the kind of awe and presence the character needs. When we see her next, likely alongside Superman in 2027’s Man of Tomorrow, she’ll be in a different place and mindset from this adventure, and that promise counts as positive mojo—attitude and all.
Read MoreOne has to keep in mind that Leah McKendrick’s film is a romantic comedy, meaning, according to even the most refined and reinvented versions of the genre’s formula, a sticking point born from preventable mistakes or an unwashed Big Lie likely exists. In the case of Voicemails from Isabelle, the finagling of fate belongs to Wes. Like many rom-coms, a horses-holding “Let me explain” is needed.
Read MoreIn The Death of Robin Hood poster did not already warn you, that right there is the brusque and dissentient attitude of this character and the entire film. Anything “merry” is as far away as the Sun during this drastic display of weather. Like body parts, the somberness can be cut with a knife or the deep strings and choral hymns from composer and folk singer Jim Ghedi, working on his first film.
Read MoreSimone Ashley’s shifting allure of evocativeness and conviction deflects predictability and shields the suspense very well, even if the rest of the cast cannot shake their tropes and witnesses and puppeteers at times. Some may argue that This Tempting Madness does not reach a radical enough tipping point to contend with that previous era of thrillers. Possibly, but Montgomery chose the wavelength of paranoia over titillation and distilled her own disturbing vibe just fine.
Read MoreFor this movie, the foreboding existence of a big, bad sea monster capable of thorough destruction is enough. There’s no need to channel Michael Bay or Roland Emmerich and blow every cinematic wad in the world. No massive crowds are running for their lives ahead of massive property damage. No one is screaming, “It’s the Kraken!” That’s improved patience and confidence to make your own thrills count.
Read MoreWhat isn’t problematic is Forge’s suave and efficient screenplay from Jing Ai Ng, making her feature debut after an eight-year resume of promising short films. The smoothness comes from scaffolding the idiosyncrasies of the underground art world, fueled by favors and authenticity. By empowering the prowess of the Coco character, Ng showcases this titular crime’s uniqueness, where not just anyone can pull it off.
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