‘I Weirdo’: Film Review

Also Read: How Larry Kramer Pulled Off the First Film With Frontal Male Nudity - Back in 1969The film is certainly entertaining and even educational, with filmmakers and actors like Peter Bogdanovich, Malcolm McDowell, Amy Heckerling and Sean Young offering revealing (pardon the pun) looks at their adventures on the front lines.

Also Read: 'Spree' Star Joe Keery on His 'Highly Misguided' Character's Pursuit of Viral Fame (Video)The movie is kind of fun if low-budget horror appeals to you. And the way the film is shot — jumping from one small screen to another and piling different social-media windows in the frame so you can read comments as you watch the action — can be a sometimes dizzying kick.

Also Read: Is 'Greyhound' Based on a True Story?The film, which is being released in some theaters (and virtual theaters) on the Aug. 14 anniversary, will also air on the Discovery Channel on Labor Day weekend, which is closer to the Sep.

When Netflix began promoting its latest entry in the summer-that-never-was blockbuster stakes, Project Power, it was hard to suppress an eye-roll of weary puzzlement at the fanboys eager to slam it as lame and derivative. Sure, it has conceptual similarities to the Bradley Cooper vehicle Limitless, to DC Comics property Hourman, to Image Comics'War Heroes.

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.

Teen love proves stronger than death in Endless, Scott Speer's tale of a young man (Nicholas Hamilton) who dies in a car crash, but whose spirit clings to Earth to comfort his grieving girlfriend (Alexandra Shipp).

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.

He's been described as "fashion's invisible man" and the "Banksy of fashion." And true to that reputation, famed designer Martin Margiela doesn't deign to show his face in Reiner Holzemer's laudatory documentary. Like the unseen but heard Marlene Dietrich in Maximilian Schell's Marlene, Margiela protects his privacy while at the same time delivering an emotionally self-probing account of his life and career in Martin Margiela: In His Own Words.

elections. Alumni include Bill Clinton, Neil Armstrong, Bruce Springsteen, Rush Limbaugh, Jon Bon Jovi, Roger Ebert, Roger Ailes, James Gandolfini and Dick Cheney, just to name a few.

It's sometimes possible for a story to have an emotional impact even when there's nary an original element in it. Such is the case with the new indie drama written and directed by Bobby Roth.

In the summer of 1989, less than two months after the release of Spike Lee's Do the Right Thing, a dramatization of racial tensions between Black and Italian Americans in Brooklyn, Yusuf Hawkins was shot to death for being a Black boy in a white neighborhood just a few miles from the film's Bedford-Stuyvesant setting. Sixteen years old, Hawkins was the victim of an impromptu mob in Bensonhurst that had gathered to attack another Black youth rumored to be dating an Italian-American girl.

Dutch director Paula van der Oest, whose 2001 rom-com Zus & Zo was nominated for what was then called the Best Foreign Language Film Oscar, has gone on in the two decades since to carve out a respectable career with well-received thrillers and romantic dramas.

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.

Watch Video: 'Burnt Orange Heresy' Star Claes Bang On Why His Character Isn't a 'Psychopath or Maniac' (Exclusive)Berenice Hollis (Debicki) enters and sits in the back, and the two almost immediately lock eyes on each other. They don’t seem to know one another, but they soon will.

The salutary effect on Brits of the sunny Continent, with its heart-opening, upper-lip-loosening powers, has fueled a well-populated movie subgenre. Using the change of scenery to explore a father-son relationship, the Tuscany-set Made in Italy arrives as a less-than-memorable entry, peppering predictable dashes of romance and real estate into a neatly defined recipe.

Scott Crawford's documentary about Creem Magazine arrives as a breath of fresh air. Chronicling the too-brief lifespan of the music magazine whose boastful but true slogan provides the film's title, Creem: America's Only Rock 'n' Roll Magazine will make you nostalgic for an era in which music journalism dared to be irreverent and wasn't constrained by the demands of corporate interests and babysitting publicists.

“Everyone, deep down, wants someone to love,” proclaims a smug bride-to-be (Amy Groening) in the opening minutes of Spinster during a meeting with caterer Gaby (Chelsea Peretti), the heroine of the film. “It’s why Shakespeare ended all of his comedies with a wedding!” And yet, as so many of us know, not everyone gets, or even wants, that particular flavor of happy ending.

For Kate Conklin, the fretful-but-smiling protagonist of I Used to Go Here, a visit to her old college campus, 15 years after graduation, is a step into a comforting cocoon — they don't call it alma mater for nothing. But that return to less complicated times is also mined with defeat, humiliation and pot-infused gummies, the catalysts of awakening in Kris Rey's low-key cringe comedy.

Black,” according to its director and star, Beyoncé. (Or is that Beyoncé Knowles-Carter? She takes the last name for her director’s credit, but goes first-name only for her starring credit.)But it’s unlikely that too many fans will flock to Disney+ for altered semantics.