Matthew Passantino

Cech is the heart of the film and coupled with her chemistry with Perlman, Marvelous and the Black Hole emerges as a sweet coming of age tale, worthy of experiencing, even if you feel like you’ve seen it all before.

Davenport is a blind actor who gives the proceedings some added depth because she’s able to convey a dramatic, manufactured scenario with some truth. See for Me, for its familiarity, offers enough thrills to merit seeking out.

Kempff walks the fine line of being frustratingly vague and trusting the audience to grasp the film fully. Knocking, for the most part, lands in the latter category.

The directors’ reverence is clear, but they don’t shy away from giving a three-dimensional examination of their subject.

Sisto certainly has an eye for the story he’s trying to tell, and there are moments throughout John and the Hole, which show he has what it takes to be an interesting filmmaker. [But his] visual flair would have been better served with a stronger story.

Yes, it was made during the pandemic, and the storyline serves as a metaphor for our current feelings and experiences, but it doesn’t use the pandemic as a tool to directly prey on our anxieties. It’s a bit more thoughtful and reflective than that. This drama gives us the green light to sit back and say, no matter when the end might be, perhaps we did just fine with our time here.

Heder infuses the characters and plot with such deep emotion it makes up for its lack of narrative originality.

The movie knows what it is, and undoubtedly offers some tense moments, but once the plot contrivances start to stack up, Unhinged becomes too silly for its own good. It leans heavily into the violence to distract, but the flailing story surrounding it.

While most of the plot of An Evening with Beverly Luff Linn feels like several different movies working at once, they all converge into a bizarre, madcap finale.

Summer Night has an easy, breezy presence about it, but there’s not much going on beneath the surface.