Review

A corporate video is not art, as much as its director might want it to be. And yet, the people who work on such projects are expected to display the slavish devotion of passionate and committed artists. Working 18 or 20 hours a day to produce commercial content isn’t worth it, that much is clear. […]

Is there any scenario in which “Late Night with the Devil” could have delivered on its promise? I’m not seeing it. Set in 1977, the movie envisions a nonexistent fourth commercial broadcast network (there were only three back then) and then imagines a competitor emerging to take down the reigning king of late night talk

Colin Burgess is having a bit of a moment with the buzzy success of the micro-indie “Dad & Step-Dad” and this week’s release of the truly funny and clever “Free Time,” a movie that uses Burgess’ on-screen energy perfectly. Ryan Martin Brown’s film jumps into the oft-visited waters of the quarter-life crisis but it does

John Ridley’s “Shirley” examines the 1972 presidential campaign of Shirley Chisholm (Regina King), the first Black woman to be elected to Congress, and the first woman to campaign for the Democratic nomination for President. Across the timeline of her run for office, “Shirley” depicts Chisholm’s fierceness against the misogynoir that looked to suppress her efforts

“I’m afraid of being alone,” intones William Shatner in the opening minutes of “You Can Call Me Bill.” It’s a sentiment that, as he tells it, has pervaded every moment of his life both on and off camera. As Captain Kirk, he barrels out into the universe to satisfy his curiosity about what’s out there.

A local icon in San Francisco who made a national impact on the night club and adult entertainment industries, with the documentary “Carol Doda Topless at the Condor,” filmmakers Marlo McKenzie and Jonathan Parker bring the titular Doda’s story to life with a rich trove of archival materials and new talking head interviews with Doda’s

The Russell Crowe renaissance feels like it’s just around the corner. Although I’ve been saying that since “The Nice Guys,” so I could be wrong. He’s undeniably reached a phase of his career in which he has nothing left to prove, and he’s often the best thing about every project he’s in. (He made “The

For his 2017 debut, “The Best of Old Worlds,” Austrian director Adrian Goiginger told a story based on his own childhood experiences regarding his troubled relationship with his addict mother. For his latest effort, “The Fox,” he once again mines his family history for inspiration, this time going back in time to tell a story

“Riddle of Fire” is the kind of cinematic bedtime story whose whimsical tone makes it easy to overlook its many keenly crafted intricacies. The feature directorial debut by writer/actor Weston Razooli works through a charming conviction: Three kids brothers Hazel (Charlie Stover) and Jodie (Skyler Peters) and their friend Alice (Phoebe Ferro) rumble down a

Inadequacy peeks from behind the uncomfortable smiles and passive aggressive remarks that two adult men exchange in the presence of the 13-year-old boy under their care. Both of these visibly distressed would-be role models is desperate for some validation. The father, Jim (Colin Burgess), has driven his adolescent son Branson (played by boyish-looking adult actor