drama
In her final report, Kristy Strouse reviews Werewolves Within, The Kids, No Future & Ultrasound.
It’s far from perfect but Zola delivers strong performances, visual language and sound design to make something unique and alluring.
Identifying Features takes time to get going but successfully wagers the audience’s patience with a terrifying finale that lingers long after the credits.
For this Queerly Ever After, we take a look at the 2012 film Morgan.
While Petrunya herself is certainly a figure worthy of veneration, the film doesn’t quite live up to her character.
The new Criterion release allows the viewer to appreciate everything Kobayashi’s towering masterwork has to offer at an even greater level.
Physical never loses sight of what it does best: exploring Sheila’s inner journey in a way that is both entertaining and compelling.
In the Heights follows a small corner of individuals as they face gentrification, immigration, and acceptance of self during the summer’s hottest days.
Kristy Strouse gives us her first Tribeca Film Festival report with three films: No Man of God, Shapeless and Mark, Mary & Some Other People.
Starring the remarkable young actor Émilie Bierre, Les Nôtres reminds us that the darkest and most deeply hidden of our secrets will always find a way out.
For its high-concept presentation, The Wanting Mare is not a very demanding picture but more of an invitation to a unique passion.
Looking back on Chris and Paul Weitz’s 2002 comedy About a Boy, one can’t help but find a perfect pandemic watch.
Astonishingly, Feel Good Season 2 gets darker and more uncomfortable without abandoning its humorous reprieves.
Kirby Voss’ We All Think We’re Special is an intensely authentic and palpably distressing drama about the pains of addiction.
In the latest installment of Queerly Ever After, we take a look at 2016’s Fair Haven, a well-acted conversion therapy drama.