family
Incredibles 2 is a fast-moving, heartfelt, gorgeous, well-acted, tightly-plotted, and funny movie that left the need for another sequel, which will hopefully be released sooner than 2032.
With a barely comprehensible plot and mind-numbing jokes, Show Dogs is a film which feels like a labour to sit through despite its fairly short run-time.
A Kid Like Jake succeeds on behalf of Howard’s confident direction, Pearle’s sharp-witted and empathetic script, and two outstanding performances from Danes and Parsons.
While Love Always, Mom waves a large price tag in the eyes of its viewers, it is an engrossing film that shows a hope in the depths of darkness while displaying the benefits of sheer determination and will.
The Escape from director Dominic Savage is an unsettling character story, one that takes its time getting its claws into you but ultimately delivers an intense ride.
It doesn’t always manages to keep your attention, but when Jacob’s inspired cinematography and the cast’s strong acting appear on screen, Cold November demands your attention and it surely gets it.
Beast is a gritty psychological-mystery with a brilliantly dark, pulsating and atmospheric heart, with an exceptional lead performance from Jessie Buckley. Michael Pearce delivers a brilliantly assured and confident feature-length directorial debut.
95 And 6 To Go follows the Takesues in a one-of-a-kind document; exploring the family’s innately meaningful transgenerational memories.
This belated sequel to Gnomeo and Juliet poorly attempts to expand the cinematic universe – and merely exposes the poor storytelling within.
There are those that may find Sgt. Stubby a little too twee for their tastes and it may not appeal to those who are not won over by doggy antics, but for those that are susceptible to a four legged friend, you will find Stubby a real heart-warmer.
Samuel Maoz’s Foxtrot toys with our emotions, but that doesn’t mean it lacks any of its own. This is an energetic and structurally audacious jukebox of sensations, prioritising impulse over precision and thought over action.
Though grounded by a strong presence in the young Madison Wolfe, I Kill Giants is often too dreary to be truly engaging, and too under-realized to be an immersive escape into a fantastical world.
Birthmarked is a comedy struggling with an identity crisis. Maybe that’s the point, or was more nurturing required?
It was absolutely inspiring to see so much strong female content at SXSW Conference and Festivals, and Family, the debut feature by Laura Steinel, was no exception.
Father Figures is a swing and a miss, lacking enough entertaining or cogent material to sell this half-hearted comedy.