2010s
Before I Wake feels like a parody of director Mike Flanagan’s more successful work, prioritising emotional manipulation over story and scares.
Sleight offers great commentary about the lack of opportunities for minority communities – yet ironically never lets its hero use his powers.
Berlin Syndrome is aligned with many kidnapping narratives, but it suffers from an unfocused approach, but in subject and character focus.
This World War ll film is entertaining, though unfortunately Their Finest doesn’t really impress as it should.
Tramps may be a rom-com story we’ve all seen before, but it’s done with charming and nuanced touches that make it a joy to watch.
Lady Bloodfight is full of frenetic, full-blooded fight scenes between a diverse array of badass women that will not disappoint.
With poor direction, effects and performances across the board, The Black Room is unbearably difficult to sit and watch.
Avoiding cliches and mostly celebrating in richly defined performances, Jawbone is among the more engaging boxing movies in recent memory.
Not all the jokes in Fist Fight land, but the film still works surprisingly well as a satirical exploration of the American education system.
The Bar is a predictable story that constantly betrays its established characters in order to service the cynical narrative.
Win It All carries mumblecore’s characteristic diversions, seemingly innocuous quirks, and has a few unexpected narrative twists.
City of Tiny Lights reflects urban British society as it really is, with culturally diverse characters and communities at its heart.
Though captured beautifully, Somewhere Beautiful suffers from an unfocused script and rushed direction by Albert Kodagolian.
Partly autobiographical, Counting for Thunder is a film that sometimes works, but mostly fails in its attempt to blend both drama and comedy.
The Other Half is a balanced portrait of not only a tangible and tender romance, but of a subject so little-seen in film; mental illness.