Steven Scaife

The can-do spirit of Dead Lover, as evidenced by the way it couples goofy sound effects with cuts and camera movements, takes it a long way.

By keeping some of its cards close to its chest, Heel respects our intelligence, which helps it to earn its sneakily moving ending.

One senses that Rod Blackhurst knows that Dolly is undernourished, but his attempts to jazz it up by splitting it into transparently titled chapters only calls further attention to that dearth of imagination.

Easy as it may be to imagine a more artful, restrained, and introspective version of Redux Redux, the one we got is satisfying enough that you may want to take it out for another spin.

Despite the affinity the Adams clan has displayed for spooky, goopy imagery in the past, Mother of Flies finds them reluctant to fully exercise those talents for fear of tipping their hand.

WTO/99 sets out to correct misrepresentation by corporate media about the aims of the movement, but that attempt is hampered by the recycling of much of the same news footage from news broadcasts.

To get to the primal thrill of racing, Iwaisawa Kenji uses just about every technique at his disposal.

The film plays a long game with audiences that frustrates far more than it illuminates.

Pulled awkwardly in so many directions, this Toxic Avenger all but comes apart at the seams.

The balls-out shock value doesn’t detract from the fact that Fixed is more square than its makers probably think it is.