drama
Giant Little Ones, directed by Keith Behrman, explores new territory in the teenage “coming out” film genre and it’s a refreshing, welcomed addition.
In the first part of Trash Caviar in which Julian Rosenthal inspects the finest of trash, he recalls Nicolas Cage’s off-the-wall character in Bad Lieutenant: Port of Call New Orleans.
All Is True fails to really justify itself: it’s a patchwork of ideas that never really coalesces confidently.
The Last Walk, a short film by Anna Hoover, is a heartbreaking, but beautiful tribute to the land for which it captures.
Greta is an acquired taste that will frustrate some viewers while others will revel in its campy absurdities.
A movie mirror-image to last year’s First Reformed, Woman at War is a strikingly beautiful story of one woman’s desire to do good.
We were able to talk with Yen Tan, writer and director of the 1980s-set drama about AIDs called 1985.
Films about serious illness have a tightrope to walk, to find the right balance for…
At this year’s Sundance Film Festival we sat down with To The Stars director Martha Stephens and leads Liana Liberato and Kara Hayward.
With a strikingly effective energy of both heart and strident bitterness, Cat Sticks like the disease of addiction itself is conveyed in a wise and endearing manner.
Fighting With My Family is a lovely little British gem and while it’s not perfect, Merchant shows admirable potential as a director.
Holiday will linger with you long after the credits roll, forcing you to acknowledge the ways in which you are complicit with the behavior of its characters.
Lynne Ramsay has been honored and recognized by critics and awards around the world. So why does it seem as though Hollywood refuses to recognize her incredible work?
Some may preemptively dismiss Gully Boy as a rip-off of 8 Mile but there’s far more here than just another underdog hip-hop story.
A spiritual forerunner to modern coming-of-age films like Eighth Grade and Lady Bird, Peppermint Soda is a charming glimpse at two teenage girls growing up.