drama
Imperial Dreams is a statement and truly is a cautionary tale, though not without hope – and, more importantly, stark realism.
Girlfriend’s Day is a film that is occasionally funny, yet it tries to ambitiously blend multiple genres, in a way that only partly works.
This year’s nominees for the Oscar for Best Live Action Short Film are a diverse selection of stories from across the globe.
You’re Killing Me Susana doesn’t adhere to almost any of the rom-com genre’s stereotypes, yet its static characters cause it to stumble.
Morocco is an early Pre-Code romantic drama starring Marlene Dietrich and Gary Cooper, two eventual stars that came to epitomize Hollywood.
Live by Night is the next directorial effort from Ben Affleck, in which he also stars/writes/produces; it is another indicator of his talent.
Road to the Well has redeeming qualities, including fine acting and cinematography, yet it falls short of greatness from its lacking story.
Gentleman’s Agreement is not merely an indictment of anti-Semitism, but a film that also “agrees” with the domestic concerns of its day.
The Birth of a Nation is often relentlessly dark and bitter, and as a result is only partly a success at delivering its compelling message.
Arrival and Hell or High Water are both allegorical, effective films from last year, yet they also tend to state their themes too bluntly.
Paul Thomas Anderson deeply cares about his characters, and the world that surrounds them. These themes are front and centre in The Master.
Beginning as an actor, John Cassavetes progressed to directing, and in the process became one of the landmark directors of indie filmmaking.
With Certain Women, director Kelly Reichardt has created one of the most human cinematic universes in recent memory.
Chapter & Verse is another strong reminder that stories about black lives must continue to be told—even if it treads familiar ground.
Filmed on a micro-budget, Anna Rose Holmer’s The Fits is a stunning debut feature, dealing with powerful themes of identity and gender.