fantasy
Céline Sciamma’s Petite Maman follows a young girl exploring her mother’s childhood home and finding another girl in the surrounding woods.
Despite some predictable plotlines, it doesn’t take away from the quality, experience, and entertainment The Uninvited promises to its audience.
It’s films like Angel’s Egg that make the critic feel like a charlatan, aimlessly looking for patterns in the entrails.
The Green Knight is an immersive, beautifully photographed if sometimes frustratingly structured fantasy adaptation.
Written and directed by Edson Oda in his directorial debut, Nine Days is as thoughtful as it is beautiful, as heartbreaking as it is jovial.
Jungle Cruise is far from cringe or embarrassment, and sure, it’s never actively terrible. But the bar shouldn’t be set this low.
For its high-concept presentation, The Wanting Mare is not a very demanding picture but more of an invitation to a unique passion.
It mostly delivers on the thrills and kills, providing enough of a jolt of energy to satisfy genre fans.
Lisey’s Story is a miniseries of magic, both in what it explores universally, but also what it generates internally.
The potential with this was promising, and yet they couldn’t quite make it work.
With About Endlessness, Roy Andersson once again weaves together short vignettes that uncover the intricacy and vulnerability of the human condition.
While it takes the series a few episodes to find its footing, it eventually settles into an even pace, supported by the strong performances and adaptation.
The Cabinet of Dr. Caligari, from Robert Wiene, is a film held close to the hearts of film historians, German expressionists, and horror fans alike.
Gold at the end of the rainbow, ancient magics, and leprechauns all to delight and even terrify. This was the goal of Mark Jones’ Leprechaun.
It might be conventional in its storytelling, but the stunning animation, lovely characters, beautiful music, and heartfelt messages won me over.