drama
It’s easy to call this season “more of the same”, but for a show as good as BoJack Horseman, that’s a compliment.
With two likable stars playing unlikable characters, some witty repartee that borders on being too wordy, and an overuse of its finer points, Destination Wedding ends up getting lost in execution.
Due to some finer details, The Land of Steady Habits is not unsatisfying per se, but it also has no staying power.
Wash Westmoreland speaks about his upcoming film Colette, its journey from script to screen, the casting process, and much more!
We spoke with Denise Gough, who stars opposite Keira Knightley in Colette, about her gender defying character, and how she hopes it begins some positive change.
Australian writer-director Kosta Nikas’ Sacred Heart is a mature, thoughtful, and dramatic piece of filmmaking for a first-time feature director.
Not bad but rather bland, The King of Thieves is too simply constructed to fully capitalise on its solid cast and compelling true-life crime story.
Carried by a flair for dramatic visual and a remarkable lead performance from Mulubwa, I Am Not a Witch is a fierce and undeniably feminist film unlike anything else in cinemas this year.
In anticipation of its induction into the Criterion Collection, we look back on A Story From Chikamatsu, a film with with a sharp focus on the social phenomenons of 18th century Japan.
By elegantly twisting the tropes of both the road movie and the war movie, The Last Suit tells a familiar story in a fresh manner.
The Wife is a middlebrow bore, a domestic drama with an intriguing concept that’s made easily forgettable due to the middle of the road direction from Bjorn Runge.
Ozark’s sophomore season lives up to both critic and viewer expectations with a complex web of storylines and characters intricately placed to be the visual chess board TV has been waiting for.
The Angel applies a straightforward template devoid of innovation or complications feeling far too standard for such an unconventional story.
The Answer isn’t a film about toxic masculinity – it challenges the masculine status quo and offers a refreshing look into the men grappling against it.
Replete with unnatural dialogue and emotionally manipulative plot developments, Bel Canto may well go down in cinematic history as the most boring hostage drama of all time.