2018
Under the Eiffel Tower just doesn’t have the spirit that a rom-com needs, feeling like a first draft that should have never seen the light of day.
Wrestle relies entirely on familiar story beats and its subject matter, shining in individual moments but not adding up to a satisfying whole.
The Golem is closer to a moody thriller than a horror – and although thematically interesting, still lacks the bite it sorely needs.
This week in the Video Dispatches, we cover the home video releases of A Star Is Born, Diamonds of the Night (1964) and Brewster McCloud (1970).
Capernaum fuses documentary elements with a fictional narrative to tell one of the most emotionally impactful stories of the year.
Michael Franti’s Stay Human is an inspiring documentary of pure positivity and something worth recommending to everybody right now.
Despite some technical hiccups and the extremely low budget, Hunter’s Weekend is a well-made movie with a fascinating and very current angle on masculinity.
Fire on the Hill is an inspiring journey of building, rebuilding and reinforcing a community for the black community in Compton, away from the notorious factions that gave the city a dark reputation.
Coupled with a brilliant script and outstanding performances by its two leaders, To Dust has already become a standout early on in 2019.
Although the film ultimately posits that there is far more going on than meets the eye, Braid has more than outworn its welcome.
Soni, as a gritty realist portrait, feels fresh and unique – both in it’s portrayal of Kalpana and Soni and its technical achievements.
Dynamic turns from its two stars and an intriguing relationship at its core makes Nina watchable, if occasionaly frustrating elsewhere.
The Quake repeats a lot of the same beats from The Wave, assuming it’ll be another sure-fire success – but it leads to a mild case of sequelitis.
Then Came You doesn’t break new ground, but Asa Butterfield and Maisie Williams have the film bursting with such a youthful energy that it’s hard to not at least enjoy the show.
Despite its eclectic performances, The Vanishing is a snail-paced buildup to real action and suspense that doesn’t have enough substance to give the narrative some weight.