drama
While episode 2 nearly gave us whiplash, “Muninn” feels like a more controlled look at the different characters in the vast expanse of this universe.
The teen melodrama may still be alive, but Five Feet Apart, the latest tragic YA romance, proves that it’s far from thriving.
Even as it skims too lightly over its complex themes, A Vigilante manages to capture a resilience and toughness that often goes unhailed on film.
Transit cements Christian Petzold’s status as a modern storytelling master. A film of surreal, sad beauty, it should not be missed.
Out of Blue can’t be faulted for its ambitions, but there’s a lack of focus, oscillating wildly between genres and never satisfying as any.
Despite the large questions it establishes at the onset, I’m Not Here offers no answers or satisfying catharsis.
Yes, God, Yes is a film you’d want to hug, where its authentic nature, lovable lead, and gentle director can win over anybody.
We Die Young has sporadic moments of action greatness, but feels overlong even with a brisk 90 minute runtime.
Alex Lines reports back from Alliance Française French Film Festival 2019 where he saw Olivier Assayas’ Non-Fiction – an increasingly rare type of drama.
After last Sunday’s ending to American Gods, we were ready to get some answers on what happened to Shadow.
Donnybrook ends with a final battle for the ages. It’s just a shame that the road leading there is a miserable slog.
Walter’s Way depicts a truth we all must face one day – one that cuts deep in the subconscious fear that most of us keep hidden until we are forced to face it.
Knife + Heart constantly walks the very fine line between a comedy and a true horror. It at times excels at both, but rarely infuses the two into a coherent film.
While Gloria Bell might be almost a carbon copy of 2013’s Gloria, the film demonstrates how much Sebastián Lelio has evolved as a director over the past six years.
The White Crow boasts an excellent lead performance from Oleg Ivenko, but the central character remains cold and distant throughout.