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
Christopher Llewellyn Reed Featured Specialty Festivals FFT Festival Coverage Film Reviews Spotlight Sundance Sundance Review: “Master” Treads Heavily, but Still Meaningfully January 29, 2022
Christopher Llewellyn Reed Featured Specialty Festivals FFT Festival Coverage Film Reviews Spotlight Sundance Sundance Review: Cooper Raiff’s “Cha Cha Real Smooth” Is a Charmer January 27, 2022
