Film Reviews
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.
Filmed live, and in one continuous take, Lost in London is a film that could seem gimmicky, yet succeeds due to its expert comedic timing.
Harold And Lillian: A Hollywood Love Story is a beautiful tribute to two unsung heroes of the film industry and their decades spanning relationship.
The Student is an effective political drama, which satirizes the rough intensity of Russia’s draconian laws in the context of a school.
A Quiet Passion shows us that there is much more to the mythos of Emily Dickinson than meets the eye, and with Davies’ ever-lyrical vision at hand, the end result is the most comprehensive picture of her that we may ever have.
Overstuffed, generic, and with poorly executed CGI action, The Fate of the Furious is nothing more than another franchise crowd-pleaser.
“Ashley George: Sometimes, Forever is a twist on my own experience as a sexually confused girl living in a pretty straight, suburban world, so the narrative draws mainly from personal experience.”
After the Paris terrorist attacks, two aerial artists worked tirelessly to spread a message of hope. This short film, Art Of Courage, details their story.
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.
Indie low-budget vampire horror Night Kaleidoscopee has solid visuals but this is not enough to cover up its paper thin characters and story.
The Discovery dabbles in too many genres and never makes a compelling case for any of them, resulting in yet another lackluster Netflix film.
Most Hated Woman In America never quite lives up to the intrigue of the contentious woman and her story at the heart of the film.
Blue Jay weaves in and out of beautifully written scenes, with a minimalist visual style focusing solely on the performances and the interactions.
With The Devil’s Candy, provocative Australian director Sean Byrne proves he is one of the best genre filmmakers working today.