drama
Transit cements Christian Petzold’s status as a modern storytelling master. A film of surreal, sad beauty, it should not be missed.
Out of Blue can’t be faulted for its ambitions, but there’s a lack of focus, oscillating wildly between genres and never satisfying as any.
Despite the large questions it establishes at the onset, I’m Not Here offers no answers or satisfying catharsis.
Yes, God, Yes is a film you’d want to hug, where its authentic nature, lovable lead, and gentle director can win over anybody.
We Die Young has sporadic moments of action greatness, but feels overlong even with a brisk 90 minute runtime.
Alex Lines reports back from Alliance Française French Film Festival 2019 where he saw Olivier Assayas’ Non-Fiction – an increasingly rare type of drama.
After last Sunday’s ending to American Gods, we were ready to get some answers on what happened to Shadow.
Donnybrook ends with a final battle for the ages. It’s just a shame that the road leading there is a miserable slog.
Walter’s Way depicts a truth we all must face one day – one that cuts deep in the subconscious fear that most of us keep hidden until we are forced to face it.
Knife + Heart constantly walks the very fine line between a comedy and a true horror. It at times excels at both, but rarely infuses the two into a coherent film.
While Gloria Bell might be almost a carbon copy of 2013’s Gloria, the film demonstrates how much Sebastián Lelio has evolved as a director over the past six years.
The White Crow boasts an excellent lead performance from Oleg Ivenko, but the central character remains cold and distant throughout.
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.