2018
For a director obsessed with the decadence of Italy’s most powerful, Loro feels like the film Paolo Sorrentino was born to make.
Red Joan is suffocatingly mediocre, a political thriller with no interest in the politics of the story, or anything remotely thrilling.
The Burial of Kojo is an aesthetically accomplished debut for Sam Blitz Bazawule, but the narrative itself is far from perfect.
The Hummingbird Project is hell-bent on becoming a conventional thriller, never grappling with the theme of money’s corrupting influence.
Jessie Buckley is a star, and the fact she makes Wild Rose almost worth watching is testament to her skill as an actress.
With virtually no plot and very little character development, Tyrel works best as an examination of masculinity and race.
Ciro Guerra and Cristina Gallego’s Birds of Passage takes us to the Guajira Peninsula, a…
The Public is an amusing and eccentric film that provides a candid look at humanity, a powerful reminder to be kind and put our biases aside.
Green Book and BlacKkKlansman both deal with race relations in America. We discuss why they may both be problematic in their discussions of race.
With every passing detail, We are Columbine sinks deeper and deeper into your soul, a piece of it sticking with you when the film has ended.
Where Hands Touch is a disappointing and sketchy depiction of a tragic romance during one of history’s darkest periods.
Even as it skims too lightly over its complex themes, A Vigilante manages to capture a resilience and toughness that often goes unhailed on film.
Out of Blue can’t be faulted for its ambitions, but there’s a lack of focus, oscillating wildly between genres and never satisfying as any.
We Die Young has sporadic moments of action greatness, but feels overlong even with a brisk 90 minute runtime.
Alex Lines reports back from Alliance Française French Film Festival 2019 where he saw Olivier Assayas’ Non-Fiction – an increasingly rare type of drama.
