In the freewheeling indie Sword of Trust, director Lynn Shelton has given her four talented principals the go-ahead to improvise when needed. And with their background in comedy, the audience can clearly see these actors are game. Shelton (who wrote this movie with former SNL staff writer Mike O’Brien) is no stranger to a loose narrative, as seen in 2009’s hilarious buddy comedy Hump Day. But, this time, her reigns are a little too loose.
By: Jessica Goddard A poignant and sincere exploration of family, loyalty, and cultural divide, The Farewell turns its writer-director’s quirky anecdote into effective drama.
Oscar nominee Jesse Eisenberg (The Social Network) has recently dodged being typecast as timid characters, but he leans back into those traits to headline The Art of Self-Defense.
Comedian Iliza Shlesinger gives at-home viewers an up-close-and-personal look at her career leading up to her latest Netflix special in the “fan-u-mentary” Iliza Shlesinger: Over & Over.
Jim Jarmusch has been making films for almost forty years. Despite such a prolific career, his bad works can be counted on one hand. This is a direct result of knowing his audience and knowing exactly what it is that they want. This streak continues with his latest feature, The Dead Don’t Die, a zombie horror-comedy which takes on American consumption without ever taking itself too seriously; after all, that film was made about forty…
Wild Nights with Emily didn’t “click” with me but, then again, I feel like I’m “missing” something.
Gloria Bell is eventually invigorating. “Eventually” usually has a negative connotation, but not in the case of Sebastián Lelio’s movie. After all, the search for one’s identity isn’t going to be easy.
By: Trevor Chartrand Contrary to its title, Funny Story isn’t so much a funny story as it is a cringe-inducing series of awkward, and uncomfortable escalating situations.
Big Brother is an action-comedy with a heart of gold that pulls plenty of punches and heartstrings.
