2010s
Bolstered by the quiet compassion that has always been her strong suit, Lynn Shelton has turned in another stunning independent feature with Outside In that no one who enjoys the quieter side of life should miss.
Andy Nyman and Jeremy Dyson’s adaptation of their hit stage play Ghost Stories is a serviceable British horror – but with so many recent gems in the genre, is being “serviceable” enough to justify its existence?
Assuming cinema etiquette is still alive, the loudest sound that can be heard among A Quiet Place’s audience will be their own semi-breathing.
With the help of Theron and Davis’ magnetic chemistry, Cody and Reitman’s synergy, and an intricate yet touching story about motherhood, Tully perfectly blends comedy and drama, creating a powerful, tender meditation on societal stigmas.
Tyler Perry’s latest directorial effort shows his tropes are continuing to wear thin, with no sign of improvement. To make things worse, he completely wastes the magnetic screen presence of Taraji P. Henson.
Gemini asks, in a city overflowing with people who want it all, when you’re famous, are you ever really safe?
A Gentle Creature is a divisive film, too exaggerated to be a realistic condemnation of the corrupt bureaucracy it seeks to lampoon.
Director Chloe Zhao follows up her debut film with an outstanding sophomore feature, The Rider, that in a just world would see her get an Oscar nomination for her impactful direction.
Told in just nine powerful takes, this harrowing legal drama from director Kaouther Ben Hania uncompromisingly depicts one woman’s search for justice following a sexual assault in a corrupt, patriarchal society.
Happy Anniversary blends comedy and drama well, creating a film which never feels like one genre is more prominent than the other.
Kay Cannon’s directorial debut Blockers is an unabashedly raunchy comedy with its heart in all the right places, giving the teen sex comedy a nice sprucing up through big laughs, a game cast and a lean script.
Based on a real-life and serious disease, Midnight Sun, though with initial potential, is ultimately too heavy-handed and clichéd to be an effective romantic drama.
Failing to bring anything new the second time around, Pacific Rim: Uprising suffers from an identity crisis with little chance to rise up from its cinematic shortfalls to save itself.
Though with timely themes of inappropriate romance and sexuality, Submission sadly lacks the insight and perspective to become a movie that represents “now.”