father-daughter relationships
The Roads Not Taken is surprisingly immersive and punctuated with many emotional beats along the way.
A striking cautionary tale with authentic performances, Searching is a small thriller whose computer-screen gimmick actually elevates its subject matter.
Even with a good hook, How It Ends suffers from lack of vision becoming just a series of scenes that rarely congeals into anything substantial.
Leave No Trace is Debra Granik’s first fiction feature in eight years, and proves that she is one of the social realist filmmakers most urgently needed in cinema right now.
Hearts Beat Loud rings emotionally true, and is heartwarming in its portrayal of youth, old age and perfect pop music.
Quite different from the big budget, blockbuster action films that we associate with sci-fi nowadays, Prospect is a slow-burning, languid study of people who end up at the wrong place at the wrong time, somewhere in outer space.
While produced with sumptuous care, Youth’s Spielbergian desire to over-sentimentalise every scene makes it more frustrating than affecting.
Regardless of the context it’s currently being viewed in, Louis C.K’s I Love You, Daddy,…
What Will People Say is a brutal yet powerful study of the effects of subjugation on a young woman in a highly patriarchal society.
Hope Dickson Leach’s debut The Levelling is a familiar story of grief, told with an emotional incisiveness by brand new talent, and reminds us the British film industry is alive and well.
Sometimes when a movie starts off slow, it picks up and has a good pay off in the end which makes the slow and boring parts forgivable. That’s not the case for Detours, written by Mara Lesemann and directed by Robert McCaskill. The film stars Tara Westwood and Carlo Fiorletta with cameo appearances by Paul Sorvino and Phyllis Somerville.