2010s
Just when I thought coming-of-age fatigue is about to kick in, Booksmart overwhelms with its confident energy and wisdom.
Love, Death & Robots was intended for a very niche audience, and for them it’ll prove a masterfully-crafted acid trip that makes for a cathartic experience.
The Highwaymen is a well-intentioned Western drama that takes a new perspective on the Bonnie & Clyde mythology, but it needs another run at tightening the runtime.
The Kid, directed by Vincent D’Onofrio and written by Andrew Lanham, is a take on…
Ash is Purest White is a simmering, heartbreaking story of a connection that perseveres, for better or for worse.
The Art of Self-Defense is not only a must-see, it’s an easy contender for the best film of the year so far.
After a 2 year hiatus, American Gods returns to form bring back element sof the show viewers fell in love with as well as giving room for others to shine.
Apollo 11 is a visually outstanding and remarkably visceral piece of filmmaking that pieces the much fragmented and daunting narrative together.
The Day Shall Come is so cartoonish that it just doesn’t feel believable or possible, let alone historical fact.
While Dev Patel brings the best performance possible, it’s hard to root for any characters in The Wedding Guest, with a story that never really knows what it wants to be.
A pleasant surprise, Long Shot is an absolute must-see if you are a fan of Charlize Theron and Seth Rogen.
The Hole in the Ground is the rare film which would have benefited from being less subtlety and amping up the craziness to achieve the desired sense of unease.
Us embraces puzzling imagery and timing to evoke a sense of interpretative meaning, which leads to personal intimacy with the viewer.
2nd Class accomplishes a lot in its brief runtime as it touches on some thought-provoking questions that will linger in the mind afterward without coming off as preachy or one-sided in its portrayal.
Her Smell never overstays its welcome, thanks to a stellar ensemble, Alex Ross Perry’s solid script, and Elisabeth Moss’s powerhouse performance.