Lately, if you feel unworthy because God has given you just too good a life...just too much joy... and your hair shirt is at the cleaners, you can do your penance by watching J Blakeson's The 5th Wave. Read more »

"For the longest time I couldn't put a name to who I was. I didn't have an image to who was like me. It was torturous," Jane Lynch notes in Fabulous! The Story of Queer Cinema, the savvy documentary from 2006 by Lesli Klainberg and Lisa Ades. Read more »

Robert Adanto's documentary The F Word navigates the liminal space between 3rd and 4th wave feminism and between IRL and URL by capturing the work of Brooklyn-based artists who raise questions about self-representation, sexuality, and embodiment. Their work offers a glimpse of unbridled female power and sexual agency, and yet is not fully rooted in fantasy, often contending with the brutal realities of the male-dominated (art) world. Along with this dynamic cast of artists, The F Word includes commentary by scholars and professors alike -- including former Art in America senior editor Nancy Princenthal -- to add background and to contextualize the works and concepts he explores. After the premiere, three of the film's artists, Kate Durbin, Leah Schrager, and Katie Cercone will join the director in a post-screening panel discussion. Read more »

"Why is everyone on this fucking island addicted to drama?" the all-knowing Mama (a superb Luis Alberto Garcia) moans.

Mama is the owner of a Havana gay bar featuring chintzy drag performers who gesticulate to emotional diva tunes and who, when the show's over, whore a little on the side. That's part of the setting for Viva, Ireland's Spanish-language submission for this year's Oscar for Best Foreign Language Film. Read more »

It is hard to believe that Aaron Sorkin wrote Steve Jobs. After all, he's the writer behind such brilliantly entertaining work as The Social Network, The West Thing and (even) A Few Good Men. It's disappointing enough that Sorkin's storytelling lacks imagination and drama. What's worse, Sorkin has created an irony-free zone where the infamously vicious Jobs comes across as a Christ-like figure, aided by Michael Fassbender's almost beatifically enigmatic performance. It's not that Jobs is paranoid, crazy or even mean, it's that he's misunderstood by everyone -- except his Mary Magdalene-like long-suffering marketing director Joanna Hoffman (portrayed by Kate Winslet with an oddly appearing and disappearing European accent of unknown origin.) Read more »

The devil-may-care, rakish charisma of the rough-hewn rockstar Keith Richards is on full display in the brand new Netflix-released documentary, Keith Richards: Under The Influence. Read more »

As Saint Jerome noted so wisely, "Early impressions are hard to eradicate from the mind. When once wool has been dyed purple, who can restore it to its previous whiteness?" Read more »

"You think I'll sit back and do nothing as you try to eat me like a juicy grasshopper?" shouts Richard, the thuggish head of the Ugandan crime syndicate, the Tiger Mafia. Read more »

In 1997, Pedro Costa (above), at the age of 38, began a trilogy exploring Portugal's impoverished, an undertaking that would continuously draw raves from the more erudite critics around the world. First came Ossos, which was pursued by In Vanda's Room (2000) and Colossal Youth (2006). These films, often showcasing the same characters, are sublimely visual, meditative masterworks that paint within shadows the seemingly plotless lives of the drug-addled inhabitants of a ghetto that is slowly being dismantled. Read more »

Judd Apatow's Trainwreck doesn't truly merit its title until this comic venture totally goes off the blasted tracks in its final quarter. What starts out as a hilarious consideration of modern mating rituals, sort of a distaff take on Apatow's earlier comedies (e.g. 40-Year-Old Virgin; Knocked Up), winds up as a queasy quantum leap backwards into the pages of Marabel Morgan's 1973 multimillion bestseller, The Total Woman: Read more »

You could be vaccinating felines for a year at an animal shelter and still not hear the word "pussy" as much as you do in the first half hour of Entourage. This expansion of the HBO TV series appears to have been conceived by a gaggle of misogynistic, beer-chugging adolescent virgins who brag about getting laid, but the closest they've ever gotten is a Playboy centerfold bespattered with cream of mushroom soup that they rescued from the city dump. Read more »

A cherubic blond toddler is shown in Super 8 film: playing on a lawn, sitting on his parents' laps, celebrating birthdays. He's a lovely child and clearly adored. It's easy to imagine his future as, essentially, peaceful and stable, full of strong connections—and very hard to imagine what actually happened: that this babe in arms, Kurt Cobain, grew up to be a tormented artist who would take his own life at age 27.  Read more »

Of the hundreds of films screened at festivals across the nation only a handful will wind up at your local theaters, and that goes for those lucky enough to have been viewed at the growingly prestigious Tribeca Film Festival (TFF). Read more »

Warning: The plot of Brad (Ratatouille) Bird's Tomorrowland is an incomprehensible muddle. A Wachowski screenplay reimagined by William Burroughs would be easier to follow. I'm only telling you this out of kindness so you won't feel like a complete mental lummox when, as this action offering for pre-teen girls ever so slowly ends after 130 minutes, you realize you don't know what the fuck happened. Read more »

Good news for Comingsoon.net's Joshua Starnes. He can recycle his critique of Pitch Perfect (2012) for its sequel: "Pitch Perfect isn't particularly bad. It isn't particularly anything. And that's what's most disappointing about it."

The low-costing original Pitch took in $113,042,075 worldwide on a production budget of $17 million, which deemed it the second highest grossing comedy/musical since 1984, losing the top spot only to School of Rock (2003). No wonder there is a follow-up. Read more »