drama
In the sea of stellar coming-of-age films that have recently been released, The Swan’s beautiful blend of human drama and magical realism is still unique enough to stand out.
Lacking the dirsired jump scares and trust in itself, Our House is a film that will now be stuck in limbo, too tame for modern horror audiences and not emotionally satisfying enough for others.
Like Father is not a radical or subversive family comedy, but the cast has good chemistry and the big, tear-jerking moments make an impact.
Bleeding Steel is a chaotic and extravagant attempt to imitate the futuristic settings of other box office fare of its time, which only highlighted the throwback quality of the central character.
To watch Chappaquiddick and then ponder the life of Ted Kennedy in such a manner undoubtedly must lead to introspection.
While Snapshots is far from a perfect film, it made with such an admirable degree of earnestness, with so much feeling, that it is easy to overlook the flaws.
While there remain more noticeable cracks in the latest two Sharp Objects episodes than the earlier days of the miniseries, it endures well into the sixth hour as an unparalleled and enthralling television experience.
We the Animals is an undeniably moving film, but one whose emotional power is curbed by its similarity to other notable US indies of recent years, failing to rise out of the shadows.
In our first Melbourne International Film Festival report, we cover a collection of films, including Columbian crime dramas, a time-bending German war film, and an experimental exercise in young adult race relations.
We were able to talk with Jessica Barth, star of the horror Along Came the Devil, about her awesome stunt work on Deadly Lessons and her great working relationship with Seth MacFarlane.
A ghost of the film it tries to summon, The Secret of Marrowbone is unable to pull everything together and its disparate elements fail to coalesce into anything approaching satisfying.
With Laura Gets A Cat, Michael Ferrell continues his knowing efforts within the romantic comedy genre.
Unfortunately, the Billionaire Boys Club takes a common Hollywood film concept and fails to deliver anything more original than its predecessors.
Some reviewers have called Blindspotting a buddy comedy, but that couldn’t be farther from the truth – this is a film designed to make you uncomfortable.
Zoe’s detriment is not necessarily any of its individual parts – it’s that they don’t quite add up to anything more impactful or memorable.