drama
Director Hong Sang-Soo’s latest effort, On The Beach At Night Alone, is one of his most deeply autobiographical (and best!) to date, but it isn’t particularly accessible for newcomers to his filmography.
A provoking film that resonates long after the credits have roles, The Strange Ones is an understated debut, with just enough external beauty and internal unease to keep us hopeful for their cinematic future.
David Heinz’s excellent debut American Folk is an ardent plea for togetherness in a divided world. Aided by his leading actors, talented cinematographer, and ear-worm of a soundtrack, this journey is a privilege to share.
With average performances, a weak script, and a lack of sentiment regarding the treatment of Native Americans, Hostiles isn’t going to make audiences want westerns to come back anytime soon.
Using acute, penetrating realism, a career-best performance from Wyle, powerful secondary performances from the actors, air-tight writing incorporating pressing themes, and an unpredictable ending, Shot overwhelmingly succeeds as both a film and a statement about our culture.
Diablo Cody’s directorial debut was made back in 2013, yet got buried so deep it’s easy to not know it even existed. After watching Paradise, it became clear why it never got a proper release five years ago.
Ana Asensio’s directorial debut, Most Beautiful Island, is an intimate view of the immigrant experience not as social realist drama or romantic comedy, but as a horror story.
Only two weeks into 2018, Swinging Safari is Australia’s worst film of the year thus far with its muddled need to elevate the material.
Though only really breaking out as a star with 2013’s Inside Llewyn Davis, Oscar Isaac has quickly made a name for himself, starring in prominent sci-fi franchises, award-worthy dramas, and lesser-known indies.
Despite an admittedly heartwarming message about not putting a price tag on ways to make others happy, there is very little to take away from Almost Paris. You’ve seen this one before, albeit better.
Desolation is a unique take on a traditional horror movie, bending genre conventions in to a unique (and thoroughly contemporary) nightmare.
Molly’s Game is a prime showcase for one of Hollywood’s most versatile actresses, but the film as a whole doesn’t live up to Chastain’s fiery performance.
Upon first viewing, Phantom Thread is utterly irresistible, but the dense themes and examinations of inter-character relationships means that it is the rare Anderson effort that will only be upgraded to masterpiece status once it has fully been processed after multiple viewings.
In our latest entry of The Nominated Film You May Have Missed series, we discuss the 1989 Robin Williams drama Dead Poets Society.
Bright is a film trying too hard, with an execution that leaves something to be desired. What is good gets smothered under the excess, and while it might keep some entertained it doesn’t stick with you.