father-son relationships
As a film about fathers and their sons, The Return is about the difficulty certain men have expressing love for one another.
There is a catharsis In El Father Plays Himself that is achieved through witnessing truth, witnessing the process – one that is not easily forgotten.
To watch Chappaquiddick and then ponder the life of Ted Kennedy in such a manner undoubtedly must lead to introspection.
Thanks to the funny and occasionally moving performances of Gould and Clement and a confident feature film debut from Hoffman, Humor Me qualifies as a passable entry into the midlife crisis sub-genre.
The heart of Daddy’s Home 2 is lost by formulaic tendencies and its overbearing insistence on being funny. It’s no future Christmas classic.
The Bachelors is a scarcity of a film, one that transcends several genres to create an affecting orotundity through its singular voice.
A Boy Called Po lacks a realistic exploration of autism, falling into common tropes surrounding the depiction of autism in Hollywood films.
Usually, I’m not a fan of the ‘comedy’ genre of film. I find that ninety-five percent of the time, it’s filled with bland, repetitive plot lines that all crack the same sort of jokes: either helpless characters struggling with awkwardness, or more slapstick physical comedy.
While many recent horror films have been heavily influenced by the works of prominent directors of the 1980s like David Lynch, John Carpenter and David Cronenberg (very good ones like The Guest and It Follows), this one addresses subject matter not even those films were willing to tackle. Richard Powell’s Heir is the next great homage to those great directors, and can proudly be a part of the recent resurgence in thoughtful horror films designed more to represent real world conflicts as opposed to cheap scares. The plot is simple at first:
