Jordan Hoffman

To put it in a way the kids do: Men is vibes.

While this is hardly Exhibit A in any catalogue of feminist films, it is very much told through the young woman exploring romantic possibility, rather than spotlighting her.

An essentially plotless but engaging and enriching recollection of childhood steeped in warmth, grace, honesty, and crystalline specificity.

The Lost City is a big studio release playing in theaters, and for any kind of “date night,” it is a solid base hit. But should you find yourself on an airplane a few months from now and this is a viewing option, that’s when it becomes a home run. It’s not a knock to admit we all desire comforting movies in uncomfortable situations.

The film, which uses the gimmick of jumping between parallel universes to explore, essentially, how to be your best self, is awash in zany sci fi culs-du-sac, sly movie references, and a deranged high fructose attitude that scoffs at the idea of everything but the kitchen sink. The Daniels want infinite kitchen sinks.

Nothing Compares is simply more about the Sinéad you already know. But a critic’s original sin is to review the movie you want to see, not the movie that exists. To that end, with expectations managed, Nothing Compares is a quite engaging document.

Shyamalan teases out new information in just the right doses, remembering all the while that this is, at its core, a B-picture. It isn’t gory, but it’s gross, and the camera knows just how much to show to keep us dialed in.

This is a film that loves its subjects and only someone with a biological revulsion to catchy pop or grand rock theatrics will dislike the film.

The lack of awareness of this event is another tragic example of black history being ignored. Only this time the record survived, and now we all get to share in it.

American Utopia is an outstanding collaboration between two essential artists; I can’t believe there’s anyone alive who won’t be moved by this document. Byrne’s career is a testament to never resting on one’s laurels, to always searching for creative expansion—but more than anything, American Utopia proves how electrifying he still is as a performer. Same as it ever was.

The varied ingredients blend together well.

On the Record itself is a thorough and self-aware film.

It is a frustrating filmgoing experience, but still one worthy of your time for the acting alone.

Wendy is undoubtedly self-assured and in-your-face, and the gorgeous location photography certainly has an impact. But it’s wrecked by chapters so lengthy they become simply excruciating.

While Bad Boys for Life has a completely asinine story, generic action, predictable plot beats, moronic dialogue and truly reprehensible politics, I still had a good time.

The movie snaps together like a jigsaw puzzle, a series of concluding beats that seem inevitable and perfect, and designed to please all parties, so long as you don’t dwell on the logic too much.

This is a gift to cinephiles everywhere from deep in the cellar and we’re all lucky to get a sip.

This movie is ridiculous.

Knock Down The House is far more effective when it is about the people and the process, not landing quips.

What this by-the-numbers approach lacks in artistry it makes up for in an avalanche of facts.

There are scenes that snap together nicely with some sharp and nuanced observations. But the film is saddled with uninteresting surface-level characters. There’s a phoniness exuding from the entire project, made all the more discouraging since the plot-light, shaggy dog story is trying to feel so real.

This is a fast and lean film, an absolute workout for its outstanding cast and a devilish roller coaster ride for audiences. It’s funny, disturbing, cringeworthy, nerve-wracking and, for some, will feel a little too realistic.

The Oslo Diaries is a striking document, mixing never-before-seen footage shot by the negotiators themselves and current reflections from participants, including the final interview of former Israeli president Shimon Peres.

Songwriter sells the “nice boy” bit well, but if you aren’t already a fan, it eventually becomes tiresome. There are occasional glimmers of a real person (wishing to topple Adele, laying down a “no Snapchat” rule at his house, etc.) but rarely is a feature film so bluntly just marketing.

Only a monster would begrudge Aronsohn for putting this all together. It doesn’t hurt that Magic Music really do have some chops.

Form and content collide in inspiring ways in this documentary about Milford Graves — avant-garde jazz percussionist, educator, gardener, martial artist, and cardiovascular researcher. Milford Graves Full Mantis is a jazz movie in every sense of the word.

Bobbito’s storytelling is infectious, and the scenes of community outreach are heartwarming. May all such vanity projects have such a friendly beat.

The Cakemaker is more of a petit four than a belly bomb, but it’s striking in its particularity.