Some of it is too broad, and I wish it dug a little deeper at times, but this is one of those rare inspirational films…
"Blue Caprice" gives serial killers the Sundance-style artfilm treatment. Directed by Alexandre Moors, it's a muted thriller based loosely on the so-called Beltway snipers, who terrorized the Washington, D.C. area and parts of Virginia for weeks in 2002. This is an intelligent and ambitious feature, but if Netflix had an "overthinking" it section, "Blue Caprice" would definitely qualify.
Treating never-before seen home movies by Nixon White House insiders as a visual spine for its tale, "Our Nixon" is an impressionistic account of the first American presidential administration to collapse in scandal.
The plot is nonsensical, the dialogue atrocious, the filmmaking mostly of-the-moment flashy, but the car chase thriller "Getaway" has a few great moments, and if there were an Oscar for wrecking police cars, it would definitely win.
From the archives: RogerEbert.com editor Matt Zoller Seitz reprints the first-ever profile of Wes Anderson and Owen Wilson, written for Dallas Observer in 1993
A new video essay explores how Terrence Malick's distinctive voice-overs evolved and expanded over time
In this quiet, gentle drama from director David Gordon Green, a man and his brother-in-law (Paul Rudd and Emile Hirsche) repair stretches of highway damaged by wildfire, avoiding and then confronting family secrets and their own deepest fears.
"Frankenstein's Army" is no perfect beast. This horror feature from director Richard Raaphorst and writer Chris Mitchell has all the hallmarks of what I call a "reel" film. By that I mean it's a feature length production demo with sets, characters and a story of sorts.
Our new Twitter account is now active. Let me explain our thinking about the new Twitter feed.
Christian Slater stars in the fourteen millionth low-budget cousin of the original "Alien." Impressive atmosphere on a low budget, but some characterization would have been nice.
Ailing 'Simpsons' co-creator to give away fortune; 'Fruitvale Station' and Trayvon Martin; how comic-book movies make movies irrelevant; correlating violence to hairstyle on 'Breaking Bad.'"