2010s
I Think We’re Alone Now is a beautiful slow burn drama with a beautifully eerie atmosphere and striking performances from Dinklage and Fanning, ruined by an unruly mess of a third act.
Colette touches on a few of today’s most vital conversations: how society treats women and how society treats those who identify with the LGBTQ+ community.
Smallfoot is desperate to entertain its audience with musical numbers, visual gags, and rapid-fire dialogue without paying that same attention to character or stakes.
Living in the Future’s Past gives viewers the chance to see what they can do to contribute in the fight against a growing problem within our society.
The Predator is a brainless, tone deaf picture, that is quite easily the worst thing writer/director Shane Black has ever laid his hands on.
A Star is Born announces Bradley Cooper as the next great actor-director, but Lady Gaga is by far the beating heart of his directorial debut.
Climax is an oddly boring affair, that shows Gaspar Noe has little of substance to offer when divorced from more offensive subject matter.
Dan Fogelman’s Life Itself has heart, but it’s ultimately too shallow in execution to support his grander ambitions.
In a decade over-saturated with cheap nostalgia, it is a delight to see a film about the 90s that doesn’t try to be about the 90s; Mid90s tells a timeless story of self-discovery.
A hard pill to swallow, Assassination Nation is a blunt, antagonistic, but masterful film, guided by a director who can so easily weave in between political horror, social injustice, dark comedy, and teen comedy.
Polterheist fails to succeed as a comedic or horrifying film, finding no progression of plot but rather further perpetuates racism, misogyny and homophobia.
Despite the attempt to be original with a subtly spooky fogginess, Slice is a sluggish creation, doling out little bits of plot information at an unhurried pace.
The Dawn Wall is a near-perfect documentary that tells the extraordinary story of free climbers Tommy Caldwell and Kevin Jorgeson exceptionally well.
It’s uncommon for a film to have scenes of vulgar comedy and yet be heart-wrenchingly emotional – but All About Nina is bold, and deserves your attention.
Though Nappily Ever After begins as encouragement that Black women embrace their natural beauty, it soon feels like a judgment of women who put effort into their appearance.