Chris Cassingham

Chris Cassingham In Review Online Oct 24, 2026 In the Mouth, the sophomore feature from Cory Santilli, is everything from a film noir to a prison escape thriller to a surreal buddy comedy to a sentimental drama. Go to Full Review In the Mouth (2025) - - - -

Chris Cassingham In Review Online Oct 3, 2026 It’s disappointing to see [Haigh], master of subtlety and delicacy, falter under an overwhelm of convention. Go to Full Review A Long Winter (2026) 79% - -

Chris Cassingham In Review Online Oct 3, 2026 Behemoth! could have played like a sappy paean to the power of movie music — and in some ways it does... But [these] cliché hues are also part of the point. Go to Full Review Behemoth! (2026) 86% - -

Chris Cassingham In Review Online Sep 9, 2026 Rollason’s documentary plays the archival form pretty straight. What it might lack in revelation...it makes up for in a steadfast belief in McGarvey’s thoughtful eye behind the camera. Go to Full Review Queer Edward II (2026) 100% - -

Chris Cassingham In Review Online Sep 4, 2026 Rarely does a film arrive in theaters with as much hype as Coyote vs. Acme, simply by virtue of existing. It's no surprise that... it doesn’t entirely live up to that hype. Nevertheless, it’s a pleasant boon to the human spirit. Go to Full Review Coyote vs. Acme (2026) 96% - -

Chris Cassingham In Review Online Aug 29, 2026 [Has an] inevitable trajectory... Vassilopoulos may arrive there in a pleasant manner, but we knew it was coming all along. Go to Full Review Destroy All Girls (2026) - - - -

Chris Cassingham In Review Online Aug 28, 2026 Manuel converges two points about class divides...in a confluence of careful narrative construction. It’s Filipiñana‘s greatest strength, and singles out Manuel and his film among an increasingly crowded crop of films dealing with similar themes. Go to Full Review Filipiñana (2026) 90% - -

Chris Cassingham In Review Online Aug 21, 2026 Dead Souls’ power goes beyond a mere accounting of Western archetypes and penchant for subverting them. Its general scrappiness engenders...atmosphere. Go to Full Review Dead Souls (2025) 80% - -

Chris Cassingham In Review Online Jul 9, 2026 Castro has a knack for making the mundane immediately feel fantastical, and injecting the chaste with a sudden dose of sex. It’s a quality desperately missing from most cinema today. Go to Full Review Drunken Noodles (2025) 100% - -

Chris Cassingham In Review Online May 26, 2026 For those familiar with his body of work, finally being let in on every secret Kienitz Wilkins has kept up his sleeve over the course of the film prompts not only an emotional release, but feels like an intellectual triumph. Go to Full Review The Misconceived (2026) - - - -

Chris Cassingham In Review Online May 10, 2026 [The film's] lack of emotional and sexual catharsis is a refreshingly realistic approach on Tuttle’s part to subject matter that deserves to be taken seriously. Go to Full Review Blue Film (2025) 91% - -

Chris Cassingham In Review Online Apr 30, 2026 Haroutounian has captured a malaise so marrow-deep it alters consciousness. Go to Full Review After Dreaming (2025) - - - -

Chris Cassingham In Review Online Apr 30, 2026 Flimsy, a little nonsensical, and not very challenging. In other words: hokum. Go to Full Review Hokum (2026) 90% - -

Chris Cassingham In Review Online Apr 24, 2026 What sets Omaha apart, or perhaps what makes it a potential standard-bearer for the kind of American independent cinema that needs to die, is its placid insistence that those cinematic shorthands...are enough to make a movie sing. Go to Full Review Omaha (2025) 91% - -

Chris Cassingham In Review Online Apr 14, 2026 Zoppi and di Righi are less interested in the granular political dimensions of their story... than they are in telling a good story and deconstructing the genre’s means of doing so. Go to Full Review Heads or Tails? (2025) 87% - -

Chris Cassingham In Review Online Apr 13, 2026 "...quaint affirmations like Heated Rivalry and Heartstoppers seem increasingly like liberal fantasies...instead of true representations of our shared experience. It’s refreshing, then, when a film like Leviticus, arrives to throw us off-balance." Go to Full Review Leviticus (2026) 93% - -

Chris Cassingham In Review Online Feb 11, 2026 With each successive film, the lines between reality and fiction have only blurred [in Pálmason's films], revealing a career-spanning inquiry into the generative possibilities of intermingling the real with the fictional. Go to Full Review Joan of Arc (2025) - - - -

Chris Cassingham In Review Online Jan 28, 2026 In The Love That Remains, Pálmason weaves together a series of scenes that illustrate the passage of time, but splinter off and jump around according to a unique internal rhythm. But if these vignettes form a tapestry, then its threads are frayed. Go to Full Review The Love That Remains (2025) 95% - -

Chris Cassingham In Review Online Dec 20, 2025 That Ella McCay not only exists in 2025, but succeeds in spite of its unfashionable elements, is its own kind of miracle. Go to Full Review Ella McCay (2025) 23% - -

Chris Cassingham In Review Online Oct 24, 2025 "The result is a document of sense as much as history, in which the viewer explores the breadth of environmental resilience across the Everglades today, as well as Wortzel’s own memories of a childhood spent amongst its splendor." Go to Full Review River of Grass (2025) 100% - -