drama
Love Actually is as heartwarming as it is quotable – the experience of love and joy a permanent staple each and every year.
“Princess Cyd” is superbly shot, written and acted, with a relaxing slice-of-life approach to its story that makes it a delight every time.
Benefitting from a strong cast (and an even wiser script) Dumb Money adds a touch of wit and wildness to the tired biographical drama format we’ve seen.
Scrooged skillfully blends a cocktail of valuable lessons and infectious laughter, ensuring its place as a memorable addition to the holiday film canon.
Concrete Utopia stakes its claim as the heir apparent to Parasite and Squid Game and should have similar crossover appeal for international audiences.
Shadow Brother Sunday accomplishes numerous feats, boasting pitch perfect performances, and Ehrenreich displays remarkable promise.
A prime example of what political cinema should be, Eros + Massacre is an intriguing and challenging work from one of Japanese’s singular talents.
Welcome to A Century in Cinema, the monthly column where I’ll be discussing films from…
Saltburn will be divisive for many, but derivative for more.
Napoleon feels a lot like its titular character: loudly ambitious to a fault, and it can’t make up its mind on what to be.
Killers of the Flower Moon showcases everything one would expect in a Martin Scorsese movie. In this case, it is both a blessing and a curse.
Thin Skin is a delightful film, equal parts heart and humor with the thematic motif of passion and tenacity that speaks to every creative.
With Juliette Fairley’s newest short film, “Adult Children of the American Revolution,” we face an experience that’s as funny as it is uncomfortable.
In the end, Firefly is full of not only wit, style and imagination, but a burning compassion for its characters, along with their individual differences.
Is Andrew Haigh okay? Silly question: Of course he isn’t, he’s a filmmaker. An auteur,…