2020s
Here’s an ice-cold take: movies nowadays are too damn long. Obviously, this is all relative;…
Sundance this year has Twinless, an audacious exercise in storytelling, and Train Dreams that is equally as compelling.
Love Hurts is still worth a watch, if only for Quan’s tour-de-force performance.
Armand is at its best when it serves as a showcase for its quartet of talented lead actors.
Heartstopper displayed- and with three seasons thus far, has continued to depict- a nuanced and vibrant portrait of life as an LGBTQ+ youth.
A Knight’s War blends classic fantasy motifs and adding a dark, unique edge that’s visually gripping.
Rewatching Singin’ in the Rain, arguably the greatest Hollywood musical ever made, my wife and…
At its best River uses the broad ensemble comedy of Japan in ways that evoke the best ensemble pieces like Noises Off or Christopher Guest’s work.
In DC, where superheroes feel like gods among men, Gunn brings Superman back down to Earth with his superbly humanistic directing style.
From sharp satire to raw emotion and meta-commentary, these three films take wildly different approaches to storytelling in this Sundance Film Festival.
With uninspired performances, bland writing, and half-baked plot twists, Flight Risk found its wings clipped before it ever had a chance to take off.
While quirky and strange are always welcoming qualities, they can also be quite risky. Wilson Kwong reviews Bubble & Squeak and By Design.
Presence is not a good horror movie. Instead, the film succeeds as a melancholy drama.
From Sundance Film Festival, Jules Caldeira takes a look at Brides, Seeds, and Sugar Babies.
Miller’s Girl came and went like stormy weather, causing plenty of noise, drenching the world…