romance
For all of its faults, 10 Things We Should Do Before We Break Up will woo you into enduring this snapshot of a relationship set to fail.
All The Bright Places is a disservice to teen audiences who have longed for an honest depiction of serious issues like mental illness and suicide.
In order to fully enjoy Olympic Dreams, one needs to see it as an experiment.
Julia Hart’s Stargirl is a decent adaptation of the beloved young adult novel, but it’s incredibly underwhelming.
Ordinary Love’s minimalist approach to the narrative puts a lot of pressure on the performers, but fortunately, Manville, Neeson and Wilmot shine through at nearly every instance.
Lovebites trusts its audience to make the connections, the empathy, and the call to action.
Romeos gets points for being one of the few films out there about a trans-man who gets a happy ending, but it is mired in unlikable characters who run the gamut of stereotypes.
William Hopson explores how Alan Silvestri’s score proves to be manipulative in the best possible way in Forrest Gump.
High Fidelity gives a whole lot of new meaning to Hornby’s novel while also honoring it at the same time.
In She’s in Portland, the elements feel superficial, with the core relationship feeling especially hackneyed.
Shelter is the kind of film you watch when you want something that is wholesome, but not chaste, that will end happy.
There are definitely moments in The Photograph that briefly feel like the Valentine’s Day treat it should be. But ultimately, it falls flat.
What Love Looks Like brings very little to the table in terms of originality or likeability. You’ve seen it all before, done better, and in more captivating ways and with better acting.
A lightweight premise with heavyweight emotions, Shoot to Marry lets you ride shotgun on a highly entertaining journey of modern romance.