drama
Stockholm is successful in doing the impossible – making the viewer understand and even empathize with the interpersonal connection between a hostage and her captor, and vice versa.
A promising start quickly descends into troubling formula in The Best of Enemies, wasting two excellent lead performances and a potentially interesting story.
With virtually no plot and very little character development, Tyrel works best as an examination of masculinity and race.
Liam O Mochain, the writer director and star of Lost & Found, talks about the five year process of making his portmanteau film.
Ciro Guerra and Cristina Gallego’s Birds of Passage takes us to the Guajira Peninsula, a…
Flay boasts an intriguing and unique horror concept, but is let down by a lack of depth to its characterisation.
There’s a lot of set up, a lot of TV show, and little payoff going on in American Gods – and it’s starting to wear on me.
The Public is an amusing and eccentric film that provides a candid look at humanity, a powerful reminder to be kind and put our biases aside.
While Peele’s The Twilight Zone is an improvement compared to the previous reboots, viewers are better off revisiting Serling’s original series.
If you look past The Highwaymen’s initial slow burn, you’ll at least find solace in its performances and devestating ending.
Where Hands Touch is a disappointing and sketchy depiction of a tragic romance during one of history’s darkest periods.
The Mustang is hard to look away from and worthy of praise. It’s a gorgeous look at a man who finds the best version of himself in his relationship with a wild horse.
While episode 2 nearly gave us whiplash, “Muninn” feels like a more controlled look at the different characters in the vast expanse of this universe.
The teen melodrama may still be alive, but Five Feet Apart, the latest tragic YA romance, proves that it’s far from thriving.
Even as it skims too lightly over its complex themes, A Vigilante manages to capture a resilience and toughness that often goes unhailed on film.