Newcomer Aislinn Clarke’s confident and sinister debut feature The Devil’s Doorway is a clever twist on the “found footage” subgenre of horror films, her movie more concerned with her three principal characters and their twisting moral ambiguities than it is in unleashing a bunch of nonsensical cheap scares.
Leave No Trace is a human mystery where the clue to answering complex psychological riddles squarely resides in the familial bonds of love a father shares with his only daughter, Tom’s ability to see the bigger picture while also taking charge of her life on her own accord an inspirational stunner I can’t wait to see again.
If Let the Sunshine In isn’t Denis’ most vital work, that doesn’t make it any less artistically dazzling, the hope for a better tomorrow overflowing in thoughtful companionship and unfettered love a universal longing intelligent viewers of all types should have no problem relating to.
With Hearts Beat Loud, Haley has composed a universally accessible human drama of music, romance and family that brought tears to my eyes while at the same time had me wanting to leap out of my seat in order to give it a hearty cheer.
It’s impossible to watch Morgan Neville’s Fred Rogers documentary Won’t You Be My Neighbor? and not come away from the experience moved.
“I feel like there is no one out there speaking to the value of civility. Fred Rogers is that person. At a time when those basic ideas of the social compact of how we’re supposed to live together feel threatened, Fred is a vehicle to have this conversation around remembering that those underpinnings of civility and kindness are the things that will keep our society from falling apart.”
– Morgan Neville
“It was a secret that they had that made them different from everyone else. I don’t think they thought that they were going to go through with it. They just were enjoying the role play and then it went way too far.”
– Bart Layton
American Animals looks at this jolt of criminal lunacy and discovers universal truths viewers should take note of, this group’s failure revealing more about the human condition than initially meets the eye.
Nothing happens here that doesn’t feel as if Schrader is in completely control of the outcome, the inherent emotional complexities of First Reformed revealing themselves with a pointed didacticism that’s frequently compelling.