drama
Underwater isn’t an outright disaster, but it’s not a diamond in the rough, either.
Though featuring actors and events you’ve seen before, Mob Town should have been left on the shelves.
A powerful and thoughtful short film, Brotherhood tackles complex themes of family and conflict with a muted elegance.
I Lost My Body leaves plenty to be interpreted and discovered by its viewers, making it one of the most thought provoking animated films of the 2010s.
Code 8 is exhilarating, gruesome, and touching, and its unique premise may very well be appreciated across genres.
Story stumbles aside, You delivers on all the hot, steamy intrigue that we came to love in the first season.
For all of its admirable intentions, the film’s flimsy storytelling does a disservice to Seberg’s legacy.
The Death and Life of John F. Donovan is far from perfect, but still manages to be a fascinating attempt at exploring sexual identity, isolation and the consequences of fame.
Just Mercy is a disappointing adaptation of an important real-life story, but it’s filled with great performances. Maria Lattila reviews.
Bait is a stunning and memorable debut that pokes itself into the uncomfortable spaces between class and solidarity in modern British society.
The True History of the Kelly Gang is often punishing and resistant to facile translation, but there’s no denying the merciless power that Justin Kurzel brings.
V-Wars is a light show that falls into the ranks of YA adaptations that encourage guilty pleasure, yet do not require to much commitment.
Togo’s fine, grainy exhibition of the Alaskan atmosphere is often breathtaking, yet its release through streaming may have sacrificed its beauty.
There are some elements to admire in Knives and Skin, but the film ultimately suffers from being an under-baked slice of surrealism set in Midwestern America.
The inaugural season of The Witcher manages to outdo expectations over the course of its eight-episode run, but there’s no doubt that the show does have plenty of visible flaws.