romance
While Sierra Burgess is a Loser isn’t amazing, it’s worth a watch if you’re into something simple that has a happy ending.
Anchor and Hope is a poignant tale encompassing love, parenthood, and the quest for harmony in an offbeat but naturalistic way.
The Guernsey Literary And Potato Peel Pie Society won’t shock or challenge you, but it will give you a sense of easygoing warmth.
Blue Iguana is a fun throwback to 80’s action crime movies, aided by fantastic performances and a punchy script.
There’s plenty about Juliet, Naked that isn’t ideal, but it is cozy and predominantly feel-good.
Frank H. Wu reviews and examines Crazy Rich Asians: It already is a phenomenon. May it inspire much more.
To All the Boys I’ve Loved Before is a testament to how far young adult films have come, resisting stereotypes and cliches despite seeming to fall into a gimmicky premise.
With Laura Gets A Cat, Michael Ferrell continues his knowing efforts within the romantic comedy genre.
Zoe’s detriment is not necessarily any of its individual parts – it’s that they don’t quite add up to anything more impactful or memorable.
Hot Summer Nights’ story is not adequately interesting to justify the legendary tone, and it winds up feeling anodyne when it should feel explosive.
With Cold War, Pawlikowski has crafted his most ambitious project yet; a portrait of a tortured relationship starting in late 1940’s Poland, climaxing in the early sixties.
Fireworks is both stunningly animated, and stunningly disappointing, hampered by a predictable love story that is neither compelling or insightful.
Midnight in Paris uses time travel to 1920’s Paris to deal with themes of nostalgia and the fallacy of Golden Age thinking.
We were able to talk to Matthew Ross, writer and director of the upcoming crime thriller Siberia about his brief but prolific filmmaking career, working with Keanu Reeves, and more.
Us and Them is an extraordinarily impressive directorial debut from Rene Liu that will leave you contemplating the best and worst of romance.