Breaking Christopher Llewellyn Reed Film Reviews Spotlight Film Review: “Turning Red” Turns Convention into Innovation March 11, 2022
Breaking Christopher Llewellyn Reed Film Reviews Spotlight Film Review: Fun but Dumb, “The Adam Project” Travels Backwards in Imagination March 10, 2022
Christopher Llewellyn Reed Featured Specialty Festivals FFT Festival Coverage Interviews Spotlight SXSW SXSW 2022 Is Live: Interview with “Long Line of Ladies” Directors Rayka Zehtabchi and Shaandiin Tome March 10, 2022
Breaking Christopher Llewellyn Reed Featured Series Spotlight Series Review: “The Dropout” Proves a Mostly Worthy Investment March 2, 2022
Breaking Christopher Llewellyn Reed Film Reviews Spotlight Film Review: “No Exit” Begs for an Immediate Off-Ramp February 25, 2022
Breaking Christopher Llewellyn Reed Film Reviews Spotlight Film Review: Besides Elsie Fisher, “Texas Chainsaw Massacre” Is a Bloody Mess February 18, 2022
Christopher Llewellyn Reed Featured Specialty Film Reviews Spotlight Film Review: Bittersweet “Lunana: A Yak in the Classroom” Moves Us Deeply February 13, 2022
Breaking Christopher Llewellyn Reed Film Reviews Spotlight Film Review: “Marry Me” Is a Trifle, but a Sweet One February 10, 2022
Christopher Llewellyn Reed Featured Specialty Festivals FFT Festival Coverage Film Reviews Spotlight Sundance Sundance Review: “The Worst Person in the World” Is a Moving Ode to Self-Actualization February 3, 2022
Christopher Llewellyn Reed Featured Specialty Festivals FFT Festival Coverage Film Reviews Spotlight Sundance Sundance Review: Past (and Future?) of Abortion, via Doc and Fiction, in “The Janes” and “Call Jane” February 1, 2022