drama
Shinji Somai’s magnificent 1993 coming-of-age film, Moving—now available in a new 4K restoration from Cinema Guild—can be interpreted in several ways.
“Young Woman and the Sea” proves it could be a serviceable movie but not strong enough to escape the routine assembly of the genre’s trappings.
She Came Back is a well-crafted horror film that leverages powerhouse performances and exceptional storytelling to create a memorable experience.
While Twisters is pretty much exactly what you’d expect, it will warmly invite you into its merry world of meteorologists and storm chasers.
Despite its issues, I find the movie an uncomfortably entrancing tale of desire, one that I will continue to return to for years to come.
Part boxing movie, part familial drama, Bang Bang is further proof of Vincent Grashaw’s directorial expertise and a showcase for Tim Blake Nelson’s talent.
Viva is told by an indie woman director whose mise-en-scene and script pay tribute to classic musicals.
Sisi & I is a worthwhile look at her life through the eyes of another, even as it suffers from comparisons to similar work.
Despite its flaws, Six in Paris should fascinate fans of the French New Wave—or, really, fans of anything French at all.
The Bikeriders is a memorable addition to Jeff Nichols’ ouvre.
When I think of epic and intimate storytelling in animation, I think of The Lion King (1994).
Revisiting July Rhapsody is a reminder that Ann Hui is one of the most empathetic and important filmmakers of the Hong Kong New Wave.
Family Portrait captures the underlying sense of menace seeping into the monotony of everyday life that characterized the early days of the pandemic.
My Sweet Land is a somber warning call that its events are not contained in one place or time, they are the story of humanity.
All these errors in execution aside, Green Border should raise international awareness of what’s happening to these refugees on the European border.