based on actual events
When it comes down to it, you’ve seen this type of movie before, but rarely with this setting and with people from this part of the world.
Fighting With My Family is a lovely little British gem and while it’s not perfect, Merchant shows admirable potential as a director.
The Amityville Murders is a film that should be avoided at all costs. It doesn’t succeed as a horror film, nor as a supernatural thriller.
The Mule is a worthy callback to Clint Eastwood’s career, playing a 90-year-old drug mule that hopes to make up for his past shortcomings.
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.
A wry, bittersweet but profoundly affecting cinematic experience, Can You Ever Forgive Me? is an astonishing examination of loneliness and detachment.
22 July begins as an urgent and devastating film, before suddenly turning into a never-ending slog, destined to leave viewers wondering where things went wrong.
The Old Man and the Gun is a love letter to many things: the 1970s/early ’80s, the aging outlaw trope so often seen in Westerns, and to film itself.
For all its faults, U – July 22 attempts to throw the viewer into an unimaginable situation instead of passively retelling it is worth celebrating, even if it doesn’t fully achieve its immersive aim.
The saying goes that the story writes itself, but White Boy Rick shows that even the best tales can be crafted into a boring, listless film.
Not bad but rather bland, The King of Thieves is too simply constructed to fully capitalise on its solid cast and compelling true-life crime story.
Lizzie may be a fictional tale of a real-life crime that we will never fully know the truth of, but it sure is an intriguing and especially a well-designed one.
Operation Finale is pensive and provocative, but it also feels a desire to thrill viewers remaining limited by its adherence to the spy genre.
Blackkklansman works on every level – it tells a wildly entertaining story while addressing a pressing social issue with intelligence and moral heft.
The Captain is the kind of project that suffers from an identity crisis, never deciding what it wants to say or how seriously it should take itself.