THE LITTLE MERMAID – my kid liked it!
by Audrey Callerstrom, Staff Writer
We ended up seeing The Little Mermaid on a Saturday afternoon in the only theater in the complex which had non-working air conditioning.
ARE YOU THERE GOD? IT'S ME, MARGARET is a heartfelt adaptation of a timeless classic
by Audrey Callerstrom, Associate Editor
Are You There God?... reminded me of how there is a simple beauty in watching someone for whom the world feels new.
The messy coming-of-age SHARP STICK is Lena Dunham’s coping mechanism
By Audrey Callerstrom, Associate Editor and Staff Writer
What to make of Lena Dunham’s return to movies?
Rebecca Hall is the centerpiece of the unsurprising drama RESURRECTION
by Audrey Callerstrom, Staff Writer
When it comes to films, I’ve given more thought lately to who exactly is telling the story.
The music in TIMES SQUARE (1980) is solid; the film is not
by Audrey Callerstrom, Associate Editor
There’s never enough momentum in the story to make any of these songs really hit.
Christopher Abbott is the stand out of the messy but bold ON THE COUNT OF THREE
by Audrey Callerstrom, Associate Editor and Staff Writer
Trailers for On the Count of Three, the directorial debut of standup comedian/actor Jerrod Carmichael, include a content warning, as well as a hotline number for suicide prevention.
INBETWEEN GIRL stumbles, but has its heart in the right place
by Audrey Callerstrom, Associate Editor and Staff Writer
With characters who feel like caricatures, it’s hard to stay invested in the story, in spite of Galbraith’s star-making performance.
GRINDHOUSE at 15: Maybe you had to be there?
by Audrey Callerstrom, Associate Editor and Staff Writer
Grindhouse, the double-feature throwback from Robert Rodriguez and Quentin Tarantino, had a lot going for it.
A strong lead performance anchors the weak pandemic-shot NIGHT’S END
by Audrey Callerstrom, Associate Editor and Staff Writer
Night’s End is a pandemic-shot, pandemic-central horror film that never mentions the pandemic.
SXSW 2022: THE COW and CHA CHA REAL SMOOTH
by Audrey Callerstrom, Associate Editor and Staff Writer
Two more dispatches from 2022’s SXSW film festival.
SXSW 2022: SPIN ME ROUND and SLASH/BACK
by Audrey Callerstrom, Associate Editor and Staff Writer
Two reviews from this year’s SXSW.
MASTER is a contrived ghost story that fumbles with bigger themes
by Audrey Callerstrom, Associate Editor and Staff Writer
Everything about Master, from its very first moments, feels like a film that was written, shot, and executed out of obligation rather a sincere desire to tell a story.
Audrey’s SXSW 2022 Film Festival Preview
by Audrey Callerstrom, Staff Writer and Associate Editor
Audrey previews 5 films from this year’s SXSW film festival.
Performances elevate A BANQUET, a moody but derivative horror
by Audrey Callerstrom, Associate Editor
A Banquet is able to coast pretty well on mood and performances, but once it gets close to its end, it gives up.
JACKASS FOREVER delights with joyous and repulsive surprises
by Audrey Callerstrom, Staff Writer
For me, a true laugh, which some have called my “theater laugh,” comes from a feeling of genuine surprise.
THE LONG NIGHT seems bored by its own conventions and cliches
by Audrey Callerstrom, Staff Writer
Scout Taylor-Compton is the only thing from turning The Long Night into a complete train wreck.
INVASION OF THE BODY SNATCHERS (1978) triumphs thanks to memorable special effects
by Audrey Callerstrom, Staff Writer
When things get creepy, look out.
SAUL AT NIGHT has an interesting premise, but it lacks purpose
by Audrey Callerstrom, Staff Writer
Saul At Night is a film that has good intentions and some novel ideas but doesn’t fill in its gaps.
THE MIDNIGHT SWIM is a puzzling, incomplete indie, but it has Beth Grant
by Audrey Callerstrom, Staff Writer
The Midnight Swim has a crisis of identity, never fully committing to any genre of any of its grander themes.
In THE LOST DAUGHTER, motherhood is a mental illness
by Audrey Callerstrom, Staff Writer and Associate Editor
The Lost Daughter is a complicated, blunt portrayal of motherhood, but its inconsistencies in tone and pacing hold it back from truly leaving an impression.