2010s
Upgrade a gleefully nasty film that relies on a unique mixture of futuristic beautiful landscapes and old-school grindhouse fun.
It’s received a fair amount of negative response for its allegiance to the cinematic canon, but The Yellow Birds is more than the sum of other films’ parts and makes for a worthwhile adventure.
Director Isabel Coixet tries to adapt The Bookshop’s source material in its entirety – and it feels incoherent told as a narrative feature.
Afghan Cycles is a true and authentic journey, filled with moments of pure happiness and heartbreaking sadness.
In Darkness could have been an exciting thriller with a complex, well-written female protagonist but it instead ends up being a convoluted and messy misfire.
With a barely comprehensible plot and mind-numbing jokes, Show Dogs is a film which feels like a labour to sit through despite its fairly short run-time.
Despite its name, Future World, with its interesting premise and a high-caliber cast, is meant to become a film that’s a part of the past.
With her delicate approach, inspired Western-influenced imagery, and hard-hitting subversive themes, The Rider is a clear indication of Chloe Zao’s talents as a director.
Dominic Brunt’s horror comedy Attack of the Adult Babies is equally versed in British toilet humour and the classics of the horror genre.
The problem with praising China Salesman is you won’t be taken seriously. But view as the Schlock it unashamedly is, and you’ll be entertained
Sometimes a film’s low budget can get in the way of its narrative, cohesiveness, and overall watchability. However, viewers won’t be disappointed with Counterfeiters and its quality.
Stephanie Archer reviews Creative Block, a short film that views the blocks of the mind, and shares her interview with director Nicola Rose.
American Animals’ artistic merits are not enough to make the men at the center of the story worth caring about for its duration.
Inka Achté’s documentary BOYS WHO LIKE GIRLS chronicles the efforts of an organization in India to educate boys and men on pressing gender-based issues.
It isn’t the glossiest documentary, and there isn’t a significant style or a comfortable flow, but what Evil Genius lacks in pizzazz in makes up for in persistence and unearthing.