Review

The truly impressive slice of nightmare fuel, “Disappear Completely,” premiering on Netflix today after a successful fest circuit run that included Fantastic Fest, almost feels like John Carpenter or Wes Craven’s “Nightcrawler.” Yeah, horror fans out there have probably already stopped reading this review and set about watching it. You’re welcome. Luis Javier Henaine’s film […]

“LaRoy, Texas” immediately tests your expectations. Driving down a dark dirt country road, Harry (Dylan Baker), whose car headlights are the only beacons of life amid the barren clime, passes a broken-down truck parked off-road. A few yards later, Harry spots the possible driver of the abandoned vehicle, picking up the stranded soul, a bearded,

A movie about a high school golf team made up of Mexican-American teenagers in the 1950s creates expectations in the viewer. There will be sunlit greens (writer/director Julio Quintana has worked with Terrence Malick), condescension and blatant bigotry, setbacks, supportive wives and girlfriends, comfortably nostalgic ’50s music, doubting family members, inspiring pep talks, and a

Four tall, scruffy creatures amble through a storybook forest. They walk, they eat, they build shelter, and repeat. The group exchanges a wordless cacophony of grunts, screams, and whoops to communicate, but we are not privy to their conversations. Like a silent movie, we figure out the meaning of their language through movement, changes in

Ninety-one minutes, including seven for closing credits, isn’t enough for “Sting,” a modestly scaled horror caper that pits a flesh-eating spider against a handful of Brooklynites. A little more would likely have gone a long way, given how rushed and underdeveloped many characters and animal attack scenes are in this polished genre exercise. Granted, a

Documentaries about cultural hotspots are as common as the film festivals that play them. Seems if an establishment sticks around long enough, especially in a city like New York, a filmmaker will want to make a movie about its longevity. In a sense, it’s easy storytelling: If a restaurant has been around for decades, some

Director Wade Allain-Marcus’s “Don’t Tell Mom the Babysitter’s Dead” is a remake of the 1991 original, repurposing an older narrative for a new generation and, this time around, centering on a Black family. Seventeen-year-old Tanya Crandell (Simone Joy Jones) looks forward to her summer in Spain with her friends. But when her mother (Patricia Williams)

“My relationship with food is complicated …very complicated. Because I have Type 1 diabetes,” says Larissa Zimberoff, author of the investigative book Technically Food: Inside Silicon Valley’s Mission to Change the Way We Eat and one of the many interview subjects in the documentary “Food, Inc. 2” a sequel to, you guessed it, 2008’s “Food,