romance
They Live by Night belongs to the tradition of films about outlaw lovers on the run. Like many of Ray’s main characters, normal life eludes them.
Some of the lines in Person to Person may ring with a certain cliched timbre, but perhaps that should only be expected from a film that trades in tired New York stereotypes that are by their very nature familiar and inviting.
As a coming-of-age tale, Liza, Liza, Skies Are Grey is inoffensive, as a reminiscence of the Cold War years, it’s inert, as a whole it’s completely inconsequential.
Chronically Metropolitan is a quirky romantic indie about life in New York City; though not perfect, it’s reasonably enjoyable.
The Incredible Jessica James has an infectious charm to it, bolstered by Williams’ strong lead performance and a positive central message.
Ying & Yang is empowering and heartbreaking, giving a window into the messed up mind of a man deciding his own fate.
Matt Keeslar is a lesser-known actor that nonetheless gave some fine performances across many different genres.
Lacking substance or exploration of themes, The Bad Batch is a pointless post-apocalyptic, psychedelic trip to nowhere-land.
A wonderful debut from essayist Kogonada, Columbus is as much about slowing down and taking stock of your life as it is a slow burn in itself.
In the Shadow of Women is alluring in its presentation, but ultimately doesn’t have much to say about infidelity and relationships.
In this version of Marivaux’s play False Confessions there are laughs to be had, but its adaptation to modern day makes it a confusing watch.
Fighting Belle initially seems to have potential as a unique and inspirational revenge story, but it ultimately feels cringeworthy instead.
Something Like Summer is an odd yet mostly satisfying mix of good and bad, with wasted moments but also bright themes that shine through.
Passengers, upon release, was panned as a misogynistic fantasy; but here’s why it might actually be more progressive than that initial take.