comedy
Drunk Bus is edgy and heartwarming, bringing powerful performances and an even stronger message to this coming-of-age film.
Despite Oy Vey! My Son Is Gay!! having a happy ending, it still serves up highly offensive and harmful gay stereotypes.
In order to fully enjoy Olympic Dreams, one needs to see it as an experiment.
Denmark isn’t really interested in trying to answer any questions it raises, instead it is content to muse on the journey of one man who just wants a better life for himself.
Julia Hart’s Stargirl is a decent adaptation of the beloved young adult novel, but it’s incredibly underwhelming.
The conflicts at the heart of Synonyms will resonate deeply, thanks to Lapid’s deeply personal storytelling and Mercier’s fiery performance.
Blow the Man Down is a careful study about growing up following a tragedy, about fending for oneself, and about the oddness in towns that people inhabit.
The problem is not only that The Jesus Rolls doesn’t work as either a Lebowski spinoff or a Going Places remake, but that this movie barely works as anything.
I Am Not Okay with This is a great show that feels both familiar and refreshing, twisting the formula of superhero origin and coming-of-age stories.
William Hopson explores how Alan Silvestri’s score proves to be manipulative in the best possible way in Forrest Gump.
What should have been a sun-soaked blockbuster, Fantasy Island leaves us feeling shamelessly entertained and frustratingly ripped-off.
In his first report from Fantastic Film Festival Australia 2020, Matthew Singleton reviews Saint Maud and A Serial Killer’s Guide to Life!
It’s Onward and downwards for Pixar, as their Dungeons and Dragons inspired latest is one of their most disposable efforts to date.
High Fidelity gives a whole lot of new meaning to Hornby’s novel while also honoring it at the same time.
In She’s in Portland, the elements feel superficial, with the core relationship feeling especially hackneyed.