drama
Jonathan is a rare and affecting fair, as tenuous as life is, especially when there’s a divergence within your own skin.
Green Book is an easygoing film about difficult issues, and that dichotomy will rub many people the wrong way, but will charm others.
Transit finds Christian Petzold on the same end of the telescope as his previous films, but looking through a more sophisticated, evolved tool with a wider view of the medium.
The Wild Pear Tree is a character study so richly detailed, the audience is left feeling like we’ve actually spent time with such an insufferable individual once its all over.
Four episodes in, the tone of The Flash in Season 5 is a welcome change from the over-serious one that anchored last season.
As a follow-up to our previous recommendations on underrated 1940s noir for Noirvember, we jump a decade later, to the 1950s.
Zhang Yimou’s Shadow is a different beast to Hero and House of Flying Daggers – but is every bit as essential.
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.
Led by a sheepish Daisy Ridley performance, Ophelia, a revisionist take on Hamlet, doesn’t have the feminist credentials it thinks it does.
The New Romantic is a classic example of a normal, maladjusted person trying to be everything they’re not by pushing themselves outside of their comfort zone.
In celebration of Noirvember, we present to you a list of 15 underrated classic noirs from the 1940s.
In the spring of 2016, Embrace of the Serpent, “[Y]oung people, when they see this…
If you don’t care about Orson Welles, The Other Side of the Winf does not stand up well enough on its own to be worth your time.
Jinn is a colorful portrait of the complexities in life, love and religion that succeeds as a character study far more than as a plot-driven story.
Outlaw King is ambitious, striving for originality and historical accuracy, but overall fails to bring much to the table in terms of grounding its characters.