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Rory Kennedy is a phenomenal interviewer. We’ve seen this before in her other projects like the Oscar-nominated “Last Days in Vietnam,” and it’s the main strength of her new project, HBO’s 4-part “The Synanon Fix.” Her skill set in making people feel comfortable allows former members of the self-help group that turned into a cult […]

“The Listener” minimalist would be an understatement. Shot a year into the pandemic, it played film festivals in 2022 and is only now getting a proper release. Once you watch it, you’ll see why it wasn’t treated as a potential box office bonanza. It’s sensitive, subtle, and restrained, and asks more of the audience than

“La Chimera” plays like a magical realism version of the classic one-last-heist movie. The core of it ultimately may reveal itself to be somewhat familiar: Newly released from prison for his crimes, a thief returns home to pull off the big job that will finally make him and his friends rich. But through the dreamlike

At first glance, the barge docked on the Seine in Paris near the foot of the Charles de Gaulle bridge seems to be ordinary enough. In fact, the ship, the Adamant, has, since 2010, been the location for a bold attempt by French medical practitioners to provide a new and more emphatic method of caring

After the one-two gut punch of garbage filmmaking that was “Blacklight” and “Memory,” I had just about given up on Liam Neeson, an actor of undeniable quality who seemed to have stopped actually reading scripts all the way through before signing onto projects. Despite its flaws, one can’t say that about Robert Lorenz’s “In the

“Wicked Little Letters,” a new film directed by Thea Sharrock with a very funny script by Jonny Sweet, is based on a tempest-in-a-teapot news story from 1918-1920, a local scandal which made national headlines in England. Rose Gooding, an Irish woman with a small daughter, moved to the small seaside community of Littlehampton, and struck

You may remember a scene in the cult classic “Repo Man” in which, during a high-speed auto repossession, Emilio Estevez exclaims, “This is intense,” and Harry Dean Stanton laconically replies, “Repo man’s always intense.” Same goes for being a big city paramedic, and you might not even need the movies to tell you that. “Asphalt

Austin-based filmmaker Bob Byington never takes the easy road, even when he’s telling the stories about the same middle-aged sad sacks who’ve populated every indie dramedy under the sun. They’re mumblecore movies, but not really, mostly because they feel a lot more deliberate and snakier than the label tends to imply; he practically dares you

It can be fun to watch a gifted character chew scenery, especially when the performer has a good script and/or supportive collaborators. Caleb Landry Jones has neither in “Dogman,” a sweaty, listless crime drama about a handicapped dog shelter owner who’s also an amateur drag performer. Jones (“Nitram,” “Get Out”) plays Doug, a canine-loving misfit

It’s recess at a small school in Nigeria and the boys are kicking around an empty water bottle in an improvised game of soccer. Except for one. Anthony Madu on the far side of the playground, is performing a private ballet. One of his classmates asks, “Why is he dancing like a girl?” Anthony is