Ally Pankiw’s film is a messy jumble of genres and failed attempts at humor.
Your guide to Asheville's vibrant and diverse movie offerings.
Your guide to Asheville's vibrant and diverse movie offerings.
All by James Rosario
Ally Pankiw’s film is a messy jumble of genres and failed attempts at humor.
Ryusuke Hamaguchi’s follow-up to “Drive My Car” is another soulful stunner.
Honest explorations of male friendships that don't involve toxic levels of masculinity or virility are a welcome change from the hardened stoicism we’re so often fed by our franchised heroes and loner tough guys.
Jalmari Helander’s hyper-violent revenge film elicits immense joy via killing Nazis.
A friendship comes to a sudden end in Martin McDonagh’s dark, metaphorically rich, period dramedy.
Louie Schwartzberg’s followup to “Fantastic Fungi” is a frustrating collection of tone-deaf, self-congratulatory platitudes.
Ruben Östlund’s Palme d’Or-winning satire masterfully skewers capitalism and the extremely wealthy.
Javier Bardem adds to his already impressive resumé with this witty workplace dramedy.
Pompous artistry in the movie business gets skewered in this brilliant Spanish comedy.
Céline Sciamma’s wonderfully mischievous time-travel drama is loaded with thought-provoking concepts and emotional resonance.
A manipulative, unnecessary (and untrue) backstory is one of several factors that dilutes this fact-based mountain survival story.
Anchored by a powerful Clifton Collins Jr. performance, Clint Bentley’s drama provides an unflinching look at professional horse racing.
James finds the latest big anime film overly grating, while Edwin considers it one of the year’s best films.
Ryusuke Hamaguchi’s meditation on loss and regret is one of the year’s best films.