2016
Tracktown, by Alexi Pappas and Jeremey Teicher, is a cutesy, generic, unfunny indie film, with an array of underdeveloped themes.
A Woman’s Life shows the hardships women endure throughout their lives relentlessly and without optimism, and is depressing as a result.
Sleight offers great commentary about the lack of opportunities for minority communities – yet ironically never lets its hero use his powers.
This World War ll film is entertaining, though unfortunately Their Finest doesn’t really impress as it should.
Lady Bloodfight is full of frenetic, full-blooded fight scenes between a diverse array of badass women that will not disappoint.
With poor direction, effects and performances across the board, The Black Room is unbearably difficult to sit and watch.
City of Tiny Lights reflects urban British society as it really is, with culturally diverse characters and communities at its heart.
Though Rules Don’t Apply is beautifully shot and contains a tender romance, the two stories of the film collide, making it an uneven venture.
Two great performances are wasted in Rupture, a mess of a horror movie which sets up mysteries it doesn’t even know how to answer.
The Student is an effective political drama, which satirizes the rough intensity of Russia’s draconian laws in the context of a school.
Julia Ducournau’s debut RAW doesn’t deserved to be labelled as “barf bag” cinema, as this is one of the best horror debuts in recent memory.
While The Promise has lofty aspirations and a flimsy base, it proves too thin and drab to be truly gripping.
Blue Jay weaves in and out of beautifully written scenes, with a minimalist visual style focusing solely on the performances and the interactions.
Otto Bell’s documentary The Eagle Huntress is empowering – even if it does frequently feel staged or exaggerated for dramatic effect.
Sometimes, Forever is a stylish, incisive look at teenage sexuality, and though it’s set in the ’90s, it does much to speak to our own time.
