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  • The Miseducation of Cameron Post

    The Miseducation of Cameron Post

    ★★

    Weirdly inert, and not helped by Chloë Grace Moritz's lifeless attempt to internalize her performance. For such a timely and affecting topic to be given such safe treatment becomes mildly infuriating. Sasha Lane and Forest Goodluck add some much needed life but their sketch-thin characters and limited screen time are far from enough to rescue this unfortunate misfire.

  • Madeline's Madeline

    Madeline's Madeline

    ★★★★½

    A dense experimental fever dream that repeatedly threatens to burst off the screen. Helena Howard is invigoratingly fearless. Sort of loses its way with a dramatic shift in POV in the last ten minutes, but nonetheless, one of the best of the year so far.

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  • Jamie Marks Is Dead

    Jamie Marks Is Dead

    ★★

    A lot of time and energy was spent carefully and thoroughly crafting a look, a mood, and an atmosphere of dread. Locked off widescreen compositions, drained of color, with lots of teenagers with pasty white (or gray) skin filling the frame. If only the same care was given to character development. I noticed several instances where someone would ask a question or make a statement only to be told never mind, or it's not important. This seems to justify leaving…

  • Thelma

    Thelma

    ★★

    A shallow shell of a character, the Thelma at the center of THELMA doesn't know what's going on and neither do we. There's lots of tropes thrown at us: religious fervor (oh she's like a Salem Witch), frustrated lesbian who doesn't want to admit she's a lesbian, outsider teenage angst, mysterious dark family history, X Men style superhero who doesn't know she's a superhero... all just napkin sketches that, seemingly by design, never resolve into anything coherent.

    Eili Harboe tries…