drama
Christophe Honoré’s Sorry Angel is a deceptively complex character study, portraying a tragic relationship without succumbing to miserablism.
Fast cars. Squealing tires. Roaring engines. Screaming fans — are all nowhere to be found in this dull as dirt car racing snooze-fest.
While groundbreaking or original, The Aftermath is worth seeing for the enticing performances and striking ambience that it establishes.
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.
Ash is Purest White is a simmering, heartbreaking story of a connection that perseveres, for better or for worse.
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.
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.
Whether you opt for the subtitled version or not, one thing is for certain: Babylon is a hidden gem worth seeking out if it comes to your city.
We recap episodes 10 to 13 in the fourth season of The CW’s Supergirl, leading to the introduction of Lex Luthor.
Everybody Knows may be a little overlong, but it’s frequently compelling due to a powerhouse performance by Penélope Cruz.
In Video Dispatches we cover recent home video releases. This week, My Name is Julia Ross (1945), So Dark the Night (1946), and Mikey And Nicky (1976).
When it comes down to it, you’ve seen this type of movie before, but rarely with this setting and with people from this part of the world.
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.