'Creem: America's Only Rock 'n' Roll Magazine': Film Review

Also Read: 'You Cannot Kill David Arquette' Documentary About Actor's Return to Wrestling in the WorksA documentary that sends up more red flags than a MAGA rally, “You Cannot Kill David Arquette” is nonetheless a robust (albeit bloody) piece of entertainment. And it’s also a character study of a guy who’s revealing himself to us regardless of whether what we’re seeing is reality or construction.The film, which opens digitally and on VOD on Aug.

The diagnosis is in, at least according to the estimable gallery of mental health professionals, and members of The Duty to Warn Coalition, who are seen in Dan Partland's documentary: President Donald Trump suffers from a condition known as malignant narcissism, the components of which are narcissism, paranoia, anti-social personality disorder and sadism.

If you’ve never seen a teen movie, a superhero movie, an asylum-set psychological thriller, Nightmare on Elm Street or a single episode of Buffy the Vampire Slayer, then perhaps The New Mutants will be something of an eye-opening experience.

Auli'i Cravalho, the voice of Disney's Moana and star of their live-TV version of The Little Mermaid, inches away from musicals in All Together Now, Brett Haley's film of a YA novel by Matthew Quick: Though her character's a teen singer who hopes to go pro, the pic gives more attention to her struggle to remain a local ray of sunshine despite being homeless.

In writer-director Sujata Day’s debut feature Definition Please, lead character Monica Chowdry is a college grad who still lives at home with her mother. A former national spelling bee champion, she now finds herself tutoring a new generation of spelling champion hopefuls in her hometown of Greensburg, Pennsylvania.

You'd think that by now Bruce Willis would be tired of saving the world. The veteran actor, who seems to have settled on making listless appearances in forgettable B-movie action movies as a retirement funding plan, co-stars in this would-be thriller, marking his third low-budget collaboration with director Matt Eskandari (the others being Survive the Night and Trauma Center) in two years.

Many documentaries have explored battles for gay liberation: There have been films about Stonewall, AIDS activism and the struggle for marriage equality. But Cured, which received its (virtual) premiere at this year’s Outfest, finds a fairly fresh slant that scintillates.

Who knew a zombie film could be so prescient? When Train to Busan surprised everyone in 2016 with its simultaneously fresh and familiar spin on the zombie apocalypse, it did so because co-writer and director Yeon Sang-ho splashed blood and guts all over characters we grew invested in, whose tragedies came like a punch to the gut and whose redemption felt earned.

“#Unfit: The Psychology of Donald Trump” is a frightening documentary that can leave you scared to death about the prospect of Donald Trump remaining in the Oval Office a day longer than is absolutely necessary. It’s a cautionary tale that can offer some degree of insight into the mind of our commander in chief.

The second film by Chinese art-world star Ai Weiwei to debut in 2020, Coronationlooks at the first chapter of the COVID-19 story: the Wuhan lockdown. Directed from afar by the now Europe-based artist, who had volunteers and employees send him hundreds of hours of footage, it's a very different work from 2017's epic-scaled, tightly focused refugee-crisis doc Human Flow.

PROVINCETOWN, Mass. – Writer-director-actor Tom O’Brien’s feature debut, Fairhaven, is a small-scale but warmly satisfying drama about a trio of male friends from a sleepy Southeastern Massachusetts fishing village, reunited in their thirties for a funeral.

Have you ever wanted to see Colin Farrell and John Malkovich in a brutal mano a mano? Or Jessica Chastain beat up a French killer in a Boston park after dark, or get into a catfight with fierce nightclub-cum-gambling-den owner Joan Chen? Ava, directed by Tate Taylor (The Help, Ma), gives you all that and more. And yet despite those obvious highlights, it’s hard to recommend Ava as a whole.

Few scenarios fill parents with as much dread as the prospect of a missing child. Whether a temporary mix-up at the mall or an experience far more emotionally traumatic, it’s a possibility that can never be completely ignored.

before they get to the time travel.Nolan, who wrote as well as directed “Tenet,” keeps the “inverted material” as a vague McGuffin for almost two hours, concentrating instead on the Bondish battle of wits between the Protagonist and the Russian oligarch.

For all the talk about diversity in video games, it’s still a rarity for the medium to explore beyond Western-centric or, to some extent Japanese, tastes.

second night of live quarterfinals, and there was a new face at the judges' table.

A Russia-set creature feature whose intensely serious tone belies some awfully silly stuff in its plot, Egor Abramenko's Sputnik locks an Alien-inspired parasite up in the steppes of Kazakhstan and waits to see if humans can figure out how to handle it. Suffering a bit in the charisma department, the film moves sluggishly for the hour or so that it takes to get on its feet, finally giving its humans something interesting to do.

The title may sound incendiary, something left over from the Russ Meyer era, but Danny Wolf’s Skin: A History of Nudity in the Movies turns out to be informative and even-handed as well as entertaining. Meyer’s movies are inevitably included in this freewheeling documentary survey of nudity from the silent era to the present.

Serving as a much-belated sequel to the 2007 Australian sleeper hit “Black Water,” director Andrew Traucki’s B-movie influenced follow-up, the blandly titled but effectively executed “Black Water: Abyss” is lean killer crocodile film that upgrades the appropriately lo-fi aesthetic of the original, replacing the expansive swamp setting with a claustrophobic cave descent.

Serving as the antithesis to the relatively upscale rock reporting of their main competitor, Rolling Stone, CREEM magazine is given a delightfully brisk survey in Scott Crawford’s “CREEM: America’s Only Rock ‘n’ Roll Magazine.” That outlandishly hyperbolic subtitle serving as a central tenet of both the magazine and film, as Crawford tracks the rise and fall of the Detroit based underground magazine that championed the likes of The Stooges and MC5 long before hardcore and punk were acceptable