Christopher Llewellyn ReedFeatured SpecialtyFilm ReviewsSpotlight Film Review: “Speer Goes to Hollywood” Tackles the Big Lie with (Mostly) TruthNovember 7, 2021
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Adam VaughnFilm ReviewsSpecialty ReleasesSpotlight Film Review: “Lantern’s Lane” Is Dry, Unoriginal, and a Waste of TimeNovember 4, 2021
BreakingChristopher Llewellyn ReedFilm ReviewsSpotlight Film Review: “Eternals” Is Both Never-Ending and EphemeralNovember 4, 2021
Adam VaughnFeatured SpecialtyFilm ReviewsSpecialty ReleasesSpotlight Film Review: “Artificial Gamer” Is an Exploration Designed for the GamerNovember 4, 2021
Featured SpecialtyFilm ReviewsHannah TranSpecialty ReleasesSpotlight Film Review: “Beans” Foregrounds Racial Trauma in a Coming-of Age Story, To Warm ResultsNovember 1, 2021
Christopher Llewellyn ReedFeatured SpecialtyFestivalsFFT Festival CoverageFilm ReviewsMiddleburg Film FestivalSpotlight Middleburg Film Festival Review: In Poignant “The Humans,” Some Wounds Never CloseOctober 31, 2021
Adam VaughnAustin Film FestivalFestivalsFFT Festival CoverageFilm ReviewsSpecialty ReleasesSpotlight Austin Film Festival Review: “Briefly” Tells a Simple Story of Method Acting Gone Terribly WrongOctober 31, 2021
Christopher Llewellyn ReedFeatured SpecialtyFestivalsFFT Festival CoverageFilm ReviewsMiddleburg Film FestivalSpotlight Middleburg Film Festival Review: “Red Rocket” Takes Us on a Wild Ride, No Matter the DestinationOctober 31, 2021
BreakingFilm ReviewsMatt PattiSpotlight Film Review: Wendigo Horror Film “Antlers” Unveils a Unique, Unsettling TaleOctober 28, 2021
Adam VaughnBreakingFilm ReviewsSpotlight Film Review: The Aesthetic Wonders of “Last Night in Soho” Ultimately FadeOctober 28, 2021
