Despite my highly subjective take on Botero’s art, Botero, the film, is still an enjoyable experience that presents an appealing overview of the artist’s life and works and will no doubt please his many fans.

The film’s structural frenzy lends itself to lots of comic riffing from the leads that often results in hilarious one-liners.

There is a good amount of dialogue in Waterlily Jaguar, but the dialogue informs us about the character. Bob is not a chatty person, but Le Gros’ portrayal speaks volumes about Bob. Miro Sorvino continues to show she has range and can elevate any character she takes on.

You should absolutely see Time Warp: The Greatest Cult Films of All-Time – Vol. 2: Horror and Sci-Fi. It’s about an hour and a half long, and I’ve seen it twice and could watch it again.

Levin has proven a great director with Union Bridge, sadly, the story he is telling needs work.

The heart of the film and the source of this thriller’s tension is the interplay between the two brothers, played beautifully by Derek Phillips and Josh Crotty.

If you’re a fan of comedy, Asian cinema or both, you will almost definitely love this movie. It’s a unique fast-paced film that’ll be sure to entertain even the most persnickety of audiences.

Sometimes we need to bask in each other’s demons, to exorcise them and achieve a semblance of redemption. Ree traces such a relationship; like an evocative painting, The Painter and the Thief will remain engraved in your memory.

The experience seems filtered. What’s lacking is any trace of spontaneity. We never see anything significant transpire, only people talking about it after the fact. Nor do we hear any dispassionate commentary evaluating Nash’s career from an outsider’s point of view.

A very, very good film that examines male ego in a way that’s almost more Sam Peckinpah than Sam Peckinpah himself.

While Castle in the Ground may not quite hold together from a narrative perspective, it’s so atmospheric, so acute in the small, tender moments it captures and is propelled by performances of such power, that it hardly matters.

As it stands, Lorelei is perfectly imperfect. It demonstrates a filmmaker willing to go for broke, examine the dark recesses of our minds that others are too timid to touch.

Diaz wears his heart on his sleeve and elicits affecting performances from his cast, but his portrait of a country in turmoil feels incomplete.

It may not quite reach the heights of Fargo, but if you enjoyed Cold Pursuit or the inferior-but-similar Daughter of the Wolf, then Blood and Money will be right up your dirt road.

In any biography/drama, the key is to make audiences believe this is the real person from history. Capone just never gets there. That could be Al Capone, but nothing in the film makes me believe it’s him, nor emotionally connect with him. Capone wastes a lot of good talent, and it’s a shame.

If you want to hear the story of dreamers fulfilling their outlandish dreams, this is the film.

The important part about Becoming is not necessarily the facts you learn about Michelle Obama, but seeing her in action.

Driveways is short but effective. It’s more about mood than the overall plot.

How to Build a Girl is an incredibly fun movie.

If you love musicals, teen romance, and the 80s, you’re going to have a blast watching Valley Girl.

He and Côté write an ode to human resilience; they compose a soliloquy about lost identities; they paint a portrait of people seeking meaning, guidance, warmth. The result is a soulful cinematic treatise on the gradual, painful loss of a city’s soul.

This film is very much of our current era, but you can even be *gasp* over 30 and enjoy CRSHD, even if it is a little reminiscent of a lot of the college movies that came before it.

The female-centric, lo-fi South Mountain is an excellent example of how little a budget matters when all the other puzzle pieces are in place. We need more cinema like this.

While far from a straightforward documentary about a widely marginalized film, You Don’t Nomi reminds us that it’s okay to like things with rough edges, that streamlined perfection is overrated and, more than anything, it’s okay to deeply love something that most other people loathe.

Once attuned, you’ll be rewarded with a sharply funny and oddly heartbreaking, albeit clumsily structured, indictment of our government... Armstrong’s razor-sharp trademark one-liners go a long way in saving this Day.

If you have a strong distaste for ICE as I do, you will love the way these kids get one over on them in The Infiltrators.

Tammy’s Always Dying is a movie that does everything right but still somehow fails to be enjoyable. It is in every respect a good movie, but I can’t say that it was at all a pleasure to watch. It is well written, acted, and directed, and it skirts the line of overwrought melodrama and poverty porn.

The Flood nearly sinks under the weight of its contrivances, but is barely kept afloat by its two central performances.