Simien's throwback horror flick provides a sincere exploration of issues from within the Black community.

In a way, the story that unfolds is more confessional than narrative.

Benson and Moorhead seem equally excited by the domestic elements of the story as they are by the genre stuff, but it gives the impression of watching two separate movies, each needing a little of the other to function, but not striking the necessary balance.

One gets the sense of a filmmaker who is bored with his material rather than being entranced by it.

Aaron Sorkin’s retelling of a politically charged event is undone by sentimentality and rose-tinted optimism.

White Riot shows the joy of challenging racist bastards and thrusting a middle finger to authority.

If you’re looking for a mindless genre film with Donald Sutherland in the cast, there are a plethora of better options to choose from.

By the time the film finally ends, most viewers will likely wonder why Marcello made the various, usually head-scratching artistic choices that he makes throughout.

Despite its crappy title, Shithouse is alternatingly charming and frustrating.

An arty, self-conscious oldies show that preaches to the choir and doesn’t nearly reach its creators’ previous heights.