drama
What makes Nigerian Prince stand apart from the cavalcade of other crime thrillers cribbed straight out of the Guy Ritchie handbook is its Nigerian setting.
What They Had is an honest snapshot of a family during crisis, in all its inevitably chaotic shades – it’s exactly what you’d hope a movie about Alzheimer’s would be.
Two for Joy is desperate and demanding, but it offers something which is rarely allowed in films which depict poverty. – it offers hope.
Boy Erased is a sturdy drama with some touching moments and strong performances, enhanced by much-needed glimpses of dramatic sensitivity within the confines of a tough story.
In his final Film Fest 919 recap, Josh Martin delves into Jake Gyllenhaal’s latest, a challenging take on the Western and the most delightful film of the festival.
Our report from Chicago International Film Festival, with reviews of, among others, Friedkin Uncut, In the Aisles, and Father the Flame.
We spoke with the director of What They Had, Elizabeth Chomko, and the personal nature of her film, and filmmakers who inspire her.
The Old Man and the Gun is a love letter to many things: the 1970s/early ’80s, the aging outlaw trope so often seen in Westerns, and to film itself.
The Kindergarten Teacher is expertly magnetic as a vessel for a cringe-worthy effect of its own making, and with a strong central performance by Maggie Gyllenhaal as well.
For this latest report from Film Fest 919, we into Robert Redford’s final film, the documentary about Orson Welles, and a Hillary Swank-starring drama.
Rodin portrays its titular character as a fiery genius who is much better interacting with lumps of clay than he is with human beings. For an artist biopic, this is both predictable and exhausting.
When the USA is safely within the next Democratic term of office, expect The Front Runner to be looked back upon more fondly; it’s mightily enjoyable political entertainment.
In the second of this series, we look at the screenplays of Citizen Kane and Velvet Goldmine, examining how the two stories share similar DNA.
Ben Ferris’ experimental docu-drama hybrid 57 Lawson has aged as an important archive of a brief period of time, a lyrical tribute to Australia’s often ignored lower class population.
How To Get Away With Murder’s case-of-the-week format will work for some but those welcoming of the more complex journey of yester-series will find the current set-up lacklustre at best.