2010s
“Are You There Shim? It’s Me, Ian” doesn’t deliver the sort of Shameless panache that the earlier seasons had, but it bodes promising.
Mandy continues to establish Cosmatos’ many predilections as a visual stylist and storyteller, albeit in a significantly more successful package.
If you need to take a break from reading about all of the acclaimed films you’re missing out on seeing at all of fall’s prestigious film festivals, go ahead and watch Final Score.
The Angel applies a straightforward template devoid of innovation or complications feeling far too standard for such an unconventional story.
The Answer isn’t a film about toxic masculinity – it challenges the masculine status quo and offers a refreshing look into the men grappling against it.
A clunkily-titled but absorbing documentary with alot of material to juggle, The Public Image Is Rotten is breathless at times, but never less than engaging.
Replete with unnatural dialogue and emotionally manipulative plot developments, Bel Canto may well go down in cinematic history as the most boring hostage drama of all time.
Failing to push boundries, Ladies in Black is the definition of someone delivering the bare minimum in film direction, where the simple monotony of Aussie contempories doesnt cut it anymore.
Anchor and Hope is a poignant tale encompassing love, parenthood, and the quest for harmony in an offbeat but naturalistic way.
Lizzie may be a fictional tale of a real-life crime that we will never fully know the truth of, but it sure is an intriguing and especially a well-designed one.
The Guernsey Literary And Potato Peel Pie Society won’t shock or challenge you, but it will give you a sense of easygoing warmth.
Wildlife, an intimate period piece, is an assured directorial debut driven by three stellar performances.
With adequate locations and a potentially interesting atmosphere, The Nun creates a darkly lit ordeal that is one silly “nun-sensical” roller coaster ride of jump scares.
Consequences coats us in a layer of melancholy through its showcase of intolerance rather than using the art of filmmaking to empower the LGBTQ community.
Yardie is loaded with Idris Elba’s enthusiasm, but feels decidedly less confident in the wake of other recent directorial debuts.