2018
With an infectious sense of humor and some wonderfully dynamic performances, The Favourite is a shining example of a filmmaker at the prime of his art.
Gustav Möller’s The Guilty is compact but crushing single-room drama successfully secures our emotional and visceral involvement whilst quite boldly moving into some genuinely dark areas.
Venom is a film with a myriad of problems, but they’re forgiven because of its affable undercutting of what you expect from superhero films.
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.
Stephanie Archer rounds up some of her experiences at 2018 Tribeca TV Festival, including two conversations with Bryan Cranston and Rosario Dawson.
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.