drama
Though easily levelling with The Wonders in terms of visual quality, the lack of investment leaves Happy as Lazzaro a rather transitory collection of charming anecdotes.
Disquieting and deeply moving, Sadie takes its story to extreme lengths while still feeling utterly grounded in the emotional reality of its characters.
Avoiding the classic cliches of a grieving teenager, Nick Naveda’s debut Say You Will will pleasantly surprise any movie lover, perfectly capturing the feeling of loss and romantic confusion.
Black ’47 isn’t a perfect film – the shaky characterisation prevents the emotional undercurrents from truly picking up speed. Regardless, it’s a fantastically captivating historical epic.
Another decent episode of How To Get Away With Murder, “Whose Blood Is That?” continues to build a solid fifth season but it’s yet to match the series’ highs we’ve seen before.
Director Yorgos Lanthimos’ latest is his first truly empathetic character study, aided by three powerhouse performances from Colman, Weisz and Stone.
Little Women will cater to a specific demographic of viewers who are not picky when it comes to the movies they watch, passing off Lifetime and Hallmark movies as good times.
Jodie Whittaker makes her debut in the first episode of Doctor Who’s 11th season, and she is a force of nature, continuing the Doctor’s quest to protect the Earth from outside attackers and invasions.
Monsters and Men is beautifully directed, but it lacks focus, as its choppy and undeveloped structure soon distracts from the matter at hand.
There has never been a film that so thoroughly captures the excitement and danger of space travel as First Man, capturing that intoxicating mix of euphoria and terror of the 1969 Apollo 11 Moon landing.
Private Life is a beautifully crafted study of two people who struggle to relinquish their desire to control and plan every element of their life.
For all its faults, U – July 22 attempts to throw the viewer into an unimaginable situation instead of passively retelling it is worth celebrating, even if it doesn’t fully achieve its immersive aim.
In our first report from Film Fest 919, Josh Martin recounts the nauseating absurdity of Dogman, memorably fascinating Destroyer and Cannes’ Palme d’Or Shoplifters.
Expelling all mental illness, Maniac blends all conceivable genres and tones, in an unmistakably difficult balancing act set in an unknown retrofuturist timeline.
With an infectious sense of humor and some wonderfully dynamic performances, The Favourite is a shining example of a filmmaker at the prime of his art.