In Teenage Sex and Death at Camp Miasma, two women are pulled into the intoxicating, problematic world of ’80s slasher movies. Nathan Weinbender says its exploration of fear and desire is stronger than its dissection of horror tropes.

As the biopic Tony shows, movie attempts to capture the character of a real person all too often fall flat, Dan Webster says.

The End of Oak Street is a standard family-in-crisis movie with a fantastical dystopian conceit, Dan Webster says.

Spider-Man: Brand New Day proves that a superhero movie can have a heart at its center, Dan Webster says.

This weekend, the bizarre, brazenly stupid 2001 cult comedy Wet Hot American Summer returns to theaters. Nathan Weinbender says it’s a great excuse to see some brilliantly silly jokes and an all-star cast before they were stars.

You’ve probably never heard of the microbudget Burt, but Nathan Weinbender says this unassuming comedy about a musician and his estranged son is a buried treasure worth digging up. It’s now streaming on Kanopy.

Blue Heron tells the story of how one child’s emotional problems affects the other members of his family, Dan Webster says.

Rose of Nevada, now playing at the Magic Lantern Theatre, is a slow, dreamy meditation on time travel and maritime economies. Nathan Weinbender says it’s a challenging, heady film from British writer-director Mark Jenkin.

The Odyssey is less a depiction of the Homeric poem than it is a reflection of Christopher Nolan’s trademark themes, Dan Webster says.

Tuner is the story of a man with musical gifts and sensitive hearing who becomes a safe cracker. Nathan Weinbender says it’s a minor but entertaining neo-noir, and it’s now available as a digital rental.