2020
While underdeveloped and sluggish in approach, Phil Sheerin’s The Winter Lake is a sedate, rustic thriller examining familial complexities.
Charm City Kings is an expressionistic, powerful look at a neglected community that gets little attention on-screen.
Wildfire is a commanding calling card for Brady, showcasing kitchen-sink realism and a powerful portrayal of sibling heartbreak.
It embodies the theory of a movie’s intricate parts, and bit players function initially as individualistic entities that coalesce into a collective.
Dutch television series Turbulent Skies takes to the air as it looks at the lives of Anthony Fokker and Albert Plesman, two pioneers of aviation.
While the details and historical recreations are impeccable, Andrei Konchalovsky’s Dear Comrades! remains emotionally unmoving.
Come True is a visually stunning and beautifully directed film, but its twisty plot sometimes goes too far.
A deeply philosophical film, it loses much of its impact when the cameras stop rolling.
The Stylist has everything one can want from a horror film; a talented female lead, lots of chills and bloody enticements, and a wickedly impressive style.
A contender for feel-good film of the year, De Capo follows a musician returning home, where he’s torn between his music and the kids he inspires.
Shorta is a timely and thrilling actioner with its plot of police brutality and ultimately its message an important one to hear.
Underneath all the comedy and action are moments of real heart and pathos, Riders of Justice manages to balance its brand of pitch-black humour and gore.
I Care A Lot suffers from a tonal shift, is still prevalent enough that the film is entertaining and enlightening all the way through.
With a lack of investment in its central character and a lackluster execution, The Night is a film not likely to see the dawn.
Sex, Drugs & Bicycles allows us Americans to consider cruelties within our system that we have come to accept as the status quo.