addiction
The investment of Bleeding Love sneaks up on you delivering a deeply cathartic conclusion.
Delivering solid and unforgettable performances from Glenn Close and Mila Kunis, Four Good Days is brilliantly done, and quietly effective.
The Old Ways is engaging and horrific, keeping relevant themes in the foreground while entertaining with solid and gruesome scares.
The idea seemed like the perfect match up. Unfortunately, Tommaso does not live up to the expectation.
Butt Boy premiered at Fantastic Fest, Austin’s other great film festival, where it was screened…
Mickey And The Bear probably doesn’t have the budget to campaign for the attention of “For Your Consideration” recipients but, with any luck, it will be recognised like Winter’s Bone before it.
The disappointment when Cargo turns out to regurgitate the messages of a Hollywood production despite the unique style can’t be understated.
Ambitious in scope and scale, all while taking the time to flesh out all of its characters and immerse the viewer in moments of striking intimacy, Euphoria leaves no stone unturned.
Tater Tot & Patton doesn’t play by those rules. Instead, we are given an odd, slow burn with endearing performances and a lesson to be learned.
The Shade Shepherd is a thumping and garish character venture, made to look and feel alluring, yet ends up inheriting an artistic drive, low on fuel and brisk in speed.
Bradley Cooper’s take on A Star is Born is more than a tragic love story: it’s a powerful depiction of being the person next to an addict.
With a strikingly effective energy of both heart and strident bitterness, Cat Sticks like the disease of addiction itself is conveyed in a wise and endearing manner.
As a narrative dive into the complexities of grief, State Like Sleep grazes the surface but doesn’t commit.
Beautiful Boy is a simple story of a dying boy and his father’s desperation, and a complex addressing of the difficulties in achieving sobriety.