by Craig J. Clark
Alex Holdridge and Linnea Saasen turn their personal experience into fodder for this slight but charming indie about a frustrated American filmmaker and a Norwegian dancer he loved and lost.
Mel Rodriguez III’s ostensible romantic comedy concerns the on-again/off-again relationship between two intensely unlikeable people, but doesn’t seem to recognize what disagreeable company they make.
Ami Canaan Mann’s third feature offers a refreshingly mature, tender romance between two musicians over the course of a few days in Ogden, Utah. But she retreats to convention when it matters.
Adding to the ignoble tradition of rape-revenge thrillers, José Manuel Craviato’s misguided, pseudo-feminist bloodbath centers on a woman who turns on her abductor and seeks out other women who have been captured, too.
Journalist Sacha Jenkins looks at how hip-hop has inspired fashion and vice versa, but despite some great footage and a battery of rap superstars, his documentary has a once-over-lightly superficiality.
Three sisters gather in their childhood home after their mother disappears into the adjoining lake in Sarah Adina Smith’s found-footage horror/thriller, which walks the fine line between unsettling and aimless.
A cross between Heat and Bottle Rocket—but inferior to both—Jay Martin’s debut feature is skillfully directed, but its story of a fresh-faced bumbler trying to carry out a small-town heist could use smarter screenwriting.
Appearing nearly simultaneously with his second film, The Overnight, Patrick Brice’s debut teams him up with Mark Duplass for some low-budget scares.
Despite the unfortunate title, Andrew Disney’s ensemble comedy about intramural football isn’t a lowbrow, juvenile sports movie, but a smart, absurdist, self-referential parody of one.
Literary references run amok in Antonia Bogdanovich’s wearying thriller about two brothers (named Samuel and Beckett) who get in over their heads in the L.A. criminal underworld.
A vampire film set in the hinterlands of Canada takes an unconventional, strangely sleepy approach to the genre.
Between when Kurt Cobain went missing and when he was found dead, Courtney Love hired a private investigator. Benjamin Statler’s queasy mix of documentary and docudrama examines the revelatory audio files that resulted.
In their third documentary, the progressive pranksters take a self-congratulatory victory lap with no victory in sight, and offer a paucity of the hilarious stunts on which they gained notoriety.
Eddie Mullins’ inspired debut feature has many cinematic fathers, but his pre-apocalypse comedy about a couple of buddies who go squatting in Catskills vacation homes has its own uniquely funny, poignant flavor.
Writer-director Craig Goodwill’s twisted, big-hearted comic fantasy delves into the dark, violent origins of Cabbage Patch Kids and the people who operate the sweatshops that produce them.
An in-name-only continuation of one of Jackie Chan’s most popular series finds the star facing the limitations of age by going the gritty, Die Hard-inspired route.
A trained-from-birth teen spy faces her toughest assignment when she tries to pass as a normal teen in a comedy that strains to do right by its high-concept premise.
The latest from Andrew Bujalski (Computer Chess) creates a love triangle between a pair of trainers (Cobie Smulders and Guy Pearce) and an awkward millionaire (Kevin Corrigan).
Leah Meyerhoff’s perceptive drama follows a vulnerable, inexperienced 16-year-old who clings too hard to a volatile first love.
Andrew Morgan’s advocacy doc about the terrible human and environmental consequences of “fast fashion” doles out information thoroughly but artlessly.