2020
Vitalina Varela is a visually stunning film submerged in regret, remorse, anger, and in some ways a faint light of hope.
Cowboys is Anna Kerrigan’s delicate and modestly subversive take on the Western, in which a father violates his parole and pulls his son away from an unpleasant upbringing.
Circus of Books packs so much heart and warmth that only the coldest of souls would fail to be moved by it come the end credits.
Even if you admire Deerskin’s audacity, its sudden and puzzling conclusion leaves much to be desired.
Bad Education is not just a great true story account, but also an excellently crafted and complex one, complete with phenomenal performances.
There is a catharsis In El Father Plays Himself that is achieved through witnessing truth, witnessing the process – one that is not easily forgotten.
Endings, Beginnings seems to be an illuminating experience for the actors involved, but an aimless drag for audiences watching.
Although it seems to promise an unvarnished view of a topical issue, ultimately The Flood’s refusal to pick a side robs it of any real purpose.
Anchored by Joshua Leonard and Jess Weixler’s infectious chemistry and offbeat script, Fully Realized Humans inherits enough wit to make it a journey worth embarking on.
True History of the Kelly Gang wants us to sympathize with a murderer who suffered great trauma from birth to death. It’s unfortunate that the film’s most critical moments fall flat.
From its aggressive ambitions to tackle a lot of things to its unsubtle and heavy-handed melodrama approach, Little Fires Everywhere obviously suffers from most of it.
How Far Is Home is a well-made documentary short film with good food for thought that doesn’t quite stick the landing.
With strong performances by the young cast, and beautiful cinematography, Stray Dolls is an intriguing crime drama with an important insight into a forgotten part of American society.
Resistance is a film that struggles to find its footing, though Eisenberg is always there to break its fall – for better or worse.
Agatha Christie’s The Pale Horse, though not quite a detective story, seems designed to test the genre’s rules, and also my patience.