romance
Endings, Beginnings seems to be an illuminating experience for the actors involved, but an aimless drag for audiences watching.
We spoke with Drake Doremus, director of Endings, Beginnings, about the process of the film, what inspires him, and how he’s keeping busy during these strange times.
Why is there an ironic romanticism around doomed romance? What is the reason for this redefining shift within the genre?
Despite a short runtime, Wives of the Skies packs a mighty punch when it comes to examining gender stereotypes. Lee Jutton reviews.
Esteros is a sweet, simple love story about two former lovers who reconnect as adults and discover that the feelings they had for each other never went away.
Season four of This Is Us is still focused on the dynamic inside our beloved Pearson family, while introducing new characters along the way.
I Still Believe’s Melissa is the manic Christian dream girl who tempts lovestruck men toward salvation.
For all of its faults, 10 Things We Should Do Before We Break Up will woo you into enduring this snapshot of a relationship set to fail.
All The Bright Places is a disservice to teen audiences who have longed for an honest depiction of serious issues like mental illness and suicide.
In order to fully enjoy Olympic Dreams, one needs to see it as an experiment.
Julia Hart’s Stargirl is a decent adaptation of the beloved young adult novel, but it’s incredibly underwhelming.
Ordinary Love’s minimalist approach to the narrative puts a lot of pressure on the performers, but fortunately, Manville, Neeson and Wilmot shine through at nearly every instance.
Lovebites trusts its audience to make the connections, the empathy, and the call to action.
Romeos gets points for being one of the few films out there about a trans-man who gets a happy ending, but it is mired in unlikable characters who run the gamut of stereotypes.
William Hopson explores how Alan Silvestri’s score proves to be manipulative in the best possible way in Forrest Gump.