‘Dark City Beneath the Beat’: Film Review

Owen Gleiberman Chief Film CriticIn a good haunted-house thriller, architecture is destiny.

Also Read: '7500' Film Review: Joseph Gordon-Levitt Gets Tough in Nerve-Wracking Cockpit ThrillerInstead of the Overlook Hotel, we have an imposing modern house in the Welsh countryside, where Theo Conroy (Bacon), a rich banker who retired under a cloud of suspicion after being acquitted of murdering his first wife, has gone to spend some relaxing time with his actress wife, Susanna (Amanda Seyfried), and their young daughter, Ella (Avery Essex).There are clearly tensions in the relationship,

Dennis Harvey Film CriticAmong the numerous documentaries about trans individuals being released this Gay Pride Month, many like “Jack & Yaya” and “For They Know Not What They Do” involve protagonists who are leading — or at least trying to lead — perfectly ordinary lives beyond the challenges that gender identity-related issues have thrown their way.

Tomris Laffly “We don’t see things as they are, we see them as we are,” goes author Anaïs Nin’s frequently cited quote on human subjectivity.

Also Read: Pete Davidson Spars - Then Bonds - With Bill Burr in Judd Apatow's 'King of Staten Island' Trailer (Video)And however much of Davidson’s autobiography is here, the movie still feels Apatow-esque.

Owen Gleiberman Chief Film CriticScott Carlin (Pete Davidson), the loser hero of “The King of Staten Island,” is a 24-year-old trash-talking punk stoner who lives with his mother in Staten Island and has no plans whatsoever — for a career, a life, or the next five minutes. He’s a slacker, a lout, and a self-pitying anger-management case who has never gotten over the death of his firefighter father 17 years ago.

Also Read: 'The Vast of Night' Film Review: Sci-Fi Thriller Feels Like the '50s - And Like TodayOn paper, it’s sort of a kick that the head bad guy is Kevin James, who has spent his career playing amiable and goofy without ever venturing in the vicinity of mean or evil. With a bald head, bushy beard and swastika tattoo, he’s a Kevin James we’ve never remotely seen on screen, but he’s not terribly interesting as a one-dimensional and ultimately ineffectual white supremacist.

Early in “Judy & Punch,” a wife who’s just helped her husband perform a vigorously slap-happy puppet show in a desultory corner of 17th century England poses the question, “Do you think the show really needs to be that punchy?”

More than a PSA or cinematic call to arms, this indie documentary is a compassionate, sincere manifesto on suicide prevention.

A hijacked drug deal's messy aftermath ensnares an entire family in Christian Sparkes' effective if overloaded crime drama.

Pushed over a metaphorical cliff, the two nonconformists in Josephine Decker’s “Shirley” — her follow-up to the mind-bending “Madeline’s Madeline” — bond over the maddening submissiveness expected of them, which they both come to furiously abhor. Their strange alliance makes for a psychologically layered portrait of unapologetic womanhood that’s dangerously sensual and sumptuously rebellious.

[Note: In the wake ofthe Hot Docs festival's postponement this year,The Hollywood Reporteris reviewing select entries that elected to premiere digitally.] In 1970 New York City, a series of ground-shifting, life-saving events took place in relatively quick succession. It's astounding that they aren't more widely known.

A film about a L.A. black lesbian strip club is smart, intimate and eye-popping — a documentary that both PornHub and the Criterion Channel could get behind.

The latest film from iconoclastic Canadian filmmaker Bruce McDonald proves at least one thing: The only thing better than Stephen McHattie in a movie is two Stephen McHatties. Playing both a heroin-addicted jazz trumpet player and a hitman who develops a conscience, the veteran character actor — you'll immediately recognize his face even if his name doesn't ring any bells — grounds Dreamland in emotional depths it otherwise strains to achieve.

A riotous, rule-ignoring Ugandan romp in which giddy exuberance obliterates amateurish filmmaking and a threadbare child-kidnapping plot.

Sharon Liese's documentary follows the contrasting trajectories of four transgender children in Kansas City with engrossing, sometimes surprising results.

This year's Scripps National Spelling Bee, which was scheduled to take place last week, was canceled due to the coronavirus pandemic. COVID-19 may well have been the only force capable of preventing an Indian American competitor from winning the contest for the 13th year in a row.

Murderous escaped cons are no match for the wrath of a 13-year-old girl in this over-the-top yet effectively taut thriller.

A young New York homeless woman is the focus of Andrew Wonder's confident, intriguing narrative debut feature.

Dehumanizing power dynamics underscore Prateek Vats’ enjoyable debut about a guy ill-suited to his new job as monkey chaser in Delhi.