2010s
In the sea of stellar coming-of-age films that have recently been released, The Swan’s beautiful blend of human drama and magical realism is still unique enough to stand out.
Lacking the dirsired jump scares and trust in itself, Our House is a film that will now be stuck in limbo, too tame for modern horror audiences and not emotionally satisfying enough for others.
Like Father is not a radical or subversive family comedy, but the cast has good chemistry and the big, tear-jerking moments make an impact.
I Used to Be Normal is a heartwarming reaffirmation of the power of fandom, a heartwarming, non-judgemental documentary that’s not just for boyband fans.
Castle Rock’s Filter is an impeccably scored episode, with enamoring performances by Spacek and Holland, that level out the grooves this mixed bag left behind.
Dark Tourist transcends its genre and explores what it actually means to travel, making for one of the most remarkable and profound travel shows ever made.
Bleeding Steel is a chaotic and extravagant attempt to imitate the futuristic settings of other box office fare of its time, which only highlighted the throwback quality of the central character.
For all of its merciless violence, Puppet Master: The Littlest Reich is a clever exercise in genre thrills and impossibly twisted humor.
It’s been almost a decade since the release of Agnès Varda’s last film, and even though her newest entry, Faces Places, is only slight, it’s still completely worth the wait.
Frank H. Wu reviews and examines Crazy Rich Asians: It already is a phenomenon. May it inspire much more.
To watch Chappaquiddick and then ponder the life of Ted Kennedy in such a manner undoubtedly must lead to introspection.
Whitney’s monumental accomplishments as a recording artist and harrowing personal problems are sensitively detailed in Kevin Macdonald’s terrific biography.
While Snapshots is far from a perfect film, it made with such an admirable degree of earnestness, with so much feeling, that it is easy to overlook the flaws.
To All the Boys I’ve Loved Before is a testament to how far young adult films have come, resisting stereotypes and cliches despite seeming to fall into a gimmicky premise.
The Meg is not a masterpiece, but it is a perfect Jason Statham vehicle: packed with action and still a ton of fun.