Daft punks, street gangs, amateur spies, and hot messes.
Brian Fogel’s latest documentary is a fantastic and vital piece of journalism, albeit one whose potency is dulled slightly by questionable presentation decisions.
Charlène Favier’s debut feature is a perpetually unsettling and solidly-crafted abuse drama with a great central performance.
Sia’s appalling vanity project is ableist, racist, inept garbage.
Sociopaths, narcissists, alcoholics, and the lead singer of The All-American Rejects “acting.”