2010s
In the face of hate, Gay Chorus Deep South is a shining beacon of love and an exemplary display of resilience and strength.
Rose Plays Julie archaeologically digs through human suffering, one fragment at a time, bringing its characters’ traumas out to see the light.
The ghosts and ghouls are fun, but this is ultimately supposed to be an allegory for Taiwanese oppression, and on those grounds, Detention fails.
The Devil Has a Name is worth watching for its message and for the strength of its three leading protagonists.
In this Away From the Hype, Sean Fallon takes a look back at last year’s Cats.
Eternal Beauty is nonetheless an enjoyable film with admirable intentions, elevated by the sensitive work of Hawkins and her supporting cast.
The Perfect Wedding is what you would get if Hallmark decided to make a gay Christmas movie, and there’s absolutely nothing wrong with that.
As Haroula Rose’s feature-length directorial debut, Once Upon A River shows us, you do what you can.
This year’s New York Film Festival started out with a bang, showcasing a whole slate of movies that really experimented with form.
The Goldfinch is not a secret masterpiece, but it is good, beautiful even, and is worthy of revisiting and re-evaluation.
Three new women-centric streaming releases examine the ways in which systemic injustice affects women.
The series Cobra Kai falls in the category of doing nostalgia right, combining both elemnts of the films of the 1980s while also remaining fresh.
Repossession bites off more than it can chew, but it’s a scrappy film nonetheless that provides enough thrills to satisfy a horror fanatic.
Film Title Poem, a 67-minute experimental traversal of film history, both canonical and personal, entirely by way of title cards.
While it had the potential to have been an interesting film, Say Yes is hampered down by heavy-handed plot contrivances.
