There seems to be a wave of hatred against the films of M. Night Shyamalan. Armchair internet wannabe critics love to trash his work these days. This is completely unfair.

While it may seem that his ability to make a great film is behind him, Shyamalan has only truly stumbled once or twice. Save for his two director-for-hire studio films “The Last Airbender” and “After Earth”

“The Five Rules of Success” reaches for the stars, swings for the fences, and shoots for the moon with its visual style.

Writer/director/cinematographer Orson Oblowitz has crafted a film that is always stunning to look at and involves the audience in its disturbing story through artful design and intense direction.

An ex-con (an extremely good Santiago Segura

Amid the ongoing discussion about prison reform, something often lost [...]

This is the time for important social issues to be dealt with through the world of cinema. Prejudice and misplaced hatred are at the forefront of the current America and any film that deals with bullying of the LGBTQ communities (especially the youth) have an unfortunately relevant place in our theaters.

Reinaldo Marcus Green’s “Joe Bell” is a film that wants to speak out against the hatred

Deadpan and natural comedic situations infused with pathos is difficult to successfully pull off. Writer-director James L. Brooks proved himself to be quite the master at that style of filmmaking. After his massive success with 1983’s “Terms of Endearment,” many Hollywood dramedies tried to reach for that golden ring that Brooks made look so effortless on screen. Most failed or could never find the right balance of drama, tears, and laughter.

In 1970 Hunter S. Thompson began a bizarre run for sheriff of Pitkin County, Col., where he ran on the “Freak Power” ticket. The title of Thompson’s ticket is a pushback on the prejudice toward the local hippies from his opponent Carol Whitmire.

Coming on the heels of the good documentary “Freak Power: The Ballot or the Bomb,” which examined the same subject

After twenty years of working in the adult film industry in Los Angeles, Mikey Saber (Simon Rex), returns with his tail between his legs to Texas City, Texas, a small oil town south of Houston with twenty-two dollars in his pocket. He manages to convince his wife Lexi (Brie Elrod), with whom he’s separated, and his mother-in-law, to let him crash for a few days.

Promises are made. Mikey will find a job and he’ll put in his share of the rent.