drama
A Quiet Passion shows us that there is much more to the mythos of Emily Dickinson than meets the eye, and with Davies’ ever-lyrical vision at hand, the end result is the most comprehensive picture of her that we may ever have.
In our latest beginner’s guide, we rundown director Mike Nichols, who had humble beginnings in comedy before becoming an acclaimed director.
While The Promise has lofty aspirations and a flimsy base, it proves too thin and drab to be truly gripping.
The Discovery dabbles in too many genres and never makes a compelling case for any of them, resulting in yet another lackluster Netflix film.
Most Hated Woman In America never quite lives up to the intrigue of the contentious woman and her story at the heart of the film.
Blue Jay weaves in and out of beautifully written scenes, with a minimalist visual style focusing solely on the performances and the interactions.
The Sense of an Ending is a commendable effort from both director and cast, yet its underwritten characters become lost in adaptation.
Sometimes, Forever is a stylish, incisive look at teenage sexuality, and though it’s set in the ’90s, it does much to speak to our own time.
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.
Gifted is grounded and gritty, on a mission to make you laugh, make you cry, make you root for the good guys while booing for the bad.
Though inspired by the erotic thrillers of the ’90s, Bad Girl ultimately fails to do anything original or exciting with its material.
As one of his final curtain calls, Limelight is a sterling reminder of Charlie Chaplin’s contributions to culture and the art of cinema.
Aquarius is a powerful character study about a woman fighting back against vulnerabilities, anchored by a fine performance from Sônia Braga.
Song to Song brings A-game performances and an was aesthetically pleasing look, all that was missing was a strong plot.