coming-of-age
God’s Own Country, a unique coming out story, is an amazing directorial debut for Francis Lee despite some minor, forgivable missteps.
Plotless, joyless and cash-grabbing, The Emoji Movie deserves the brunt of our wrath because it showcases everything wrong with Hollywood.
As a coming-of-age tale, Liza, Liza, Skies Are Grey is inoffensive, as a reminiscence of the Cold War years, it’s inert, as a whole it’s completely inconsequential.
Chronically Metropolitan is a quirky romantic indie about life in New York City; though not perfect, it’s reasonably enjoyable.
Landline’s Gillian Robespierre & Jenny Slate understand that female characters can do unlikable things while still earning our empathy.
Fat Camp may be generic in both story and direction, but it has enough charm and heart to make up for some of its shortcomings.
Brigsby Bear isn’t only for the dreamers, it’s for anyone who ever stalled at pursuing a something dear to them for fear of failing.
Pariah is essential in the African American LGBTQ artistic and cinematic canon, as well as an achievement in cinematic storytelling.
Spider-Man: Homecoming is a refreshingly comedic and lighthearted superhero film, but it doesn’t quite work as part of a larger universe.
Old Enough is an affectionately accurate depiction of how it feels to grow into an age when the opinions of friends are all that matters.
Speech & Debate isn’t great, but is enjoyable despite its plot holes, and features a great performance from Sarah Steele.
Julia Ducournau’s debut RAW doesn’t deserved to be labelled as “barf bag” cinema, as this is one of the best horror debuts in recent memory.
Jasper Jones, Rachel Perkins’ sweet coming-of-age story about racism in a rural town, is one of the best Australian films of recent years.
Though inspired by the erotic thrillers of the ’90s, Bad Girl ultimately fails to do anything original or exciting with its material.