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
Festivals FFT Festival Coverage Film Reviews Jeremy Taylor Spotlight Sundance Sundance Review: “TikTok, Boom” Is a Strong Documentary with Insights into Dangers of Chinese Control January 31, 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
Featured Specialty Festivals FFT Festival Coverage Film Reviews Hannah Tran Spotlight Sundance Sundance Review: “Speak No Evil” Is Horror by Way of Haneke January 28, 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
Featured Specialty Festivals FFT Festival Coverage Film Reviews Hannah Tran Spotlight Sundance Sundance Review: In “Watcher,” Maika Monroe Returns as Indie Scream Queen January 26, 2022
Christopher Llewellyn Reed Featured Specialty Festivals FFT Festival Coverage Film Reviews Spotlight Sundance Sundance Review: In “Mars One,” Big Dreams Ground Us Here on Earth January 25, 2022
Featured Specialty Festivals FFT Festival Coverage Film Reviews Hannah Tran Spotlight Sundance Sundance Review: “FRESH” Has a Stellar Cast, but its Social Commentary Only Cuts Skin-Deep January 24, 2022
Christopher Llewellyn Reed Featured Specialty Festivals FFT Festival Coverage Film Reviews Spotlight Sundance Sundance Review: In “Emily the Criminal,” Aubrey Plaza Rocks the System January 24, 2022
