2020s
Sky Hopinka’s film “małni: towards the ocean, towards the shore” is a meditative experimental film rooted in Chinook mythology and tradition.
In a transformative paranoia and confined space, The Woman in the Window may not be the best remake of a classic tale, but it is far from the worst.
Walkaway Joe seems like little more than a run-of-the-mill kitchen sink drama with a nine-ball angle. But Wright’s film is remarkably poignant.
The Man in the Hat is a whimsical and playful film told through the mostly dialogue-free journey of a man played wonderfully by Ciarán Hinds.
In the film’s approach to try depicting its scandalous central relationship as naturally occurring as possible, Wet Season sacrifices narrative or emotional thrust.
While it may not be as ambitious or as deep as it could have been, it is an exciting genre film with a charismatic performance from Angelina Jolie.
RK/RKAY is a highly innovative and well-crafted film that demonstrates Rajat Kapoor’s creativity, intellect, and mastery.
The Paper Tigers is an enjoyable action comedy exploring the different ways people change over time and the importance of protecting your family, be it blood or bond.
Wrath of Man fails to make the most of an inventive story structure and a typically solid Statham performance, smothered under layers of bland masculinity.
Robert Machoian’s The Killing of Two Lovers is an upcoming marriage drama starring Clayne Crawford, Sepideh Moafi, and Chris Coy.
The documentary as a whole is a brilliant lesson in ecology, humanity, and finding better ways to live comfortably without taking more than you give back.
From this years South East European Film Festival Los Angeles, Kristy Strouse reviews Mare and Cream.
With a shift to basketball, the new season of Last Chance U is a journey into the lives of student-athletes hoping to achieve their goals.
In spite of some reservations, and though it certainly demands patience, Hopper/Welles remains a treasure trove worthy of exploration.
While Spring Blossom shows potential, especially in Lindon’s acting and directing, the script here falls flat.