drama
With overly drawn-out scenes and a sprinkle of randomized and at times unnecessary drama, Fifty Shades Darker left much to be desired.
I first discovered Jeff Nichols back in 2013, when I happened to catch Mud in theaters. Not knowing what to expect, I still remember distinctly how I felt walking out of the theater – I absolutely loved everything about the film. I was stunned by its raw, understated beauty, with characters that lived and breathed, and a coming-of-age story that was uniquely captivating.
Billy Lynn’s Long Halftime Walk is atypical for Ang Lee; though the visuals are impressive, the film surrounding it fails to have an impact.
1995’s Ghost in the Shell creates a prescient vision of a connected world that functions as both as character study & social commentary.
The Comedian boasts a few laughs and a fine performance by Robert De Niro, but the remainder of the film is a rather listless venture.
Imperial Dreams is a statement and truly is a cautionary tale, though not without hope – and, more importantly, stark realism.
Girlfriend’s Day is a film that is occasionally funny, yet it tries to ambitiously blend multiple genres, in a way that only partly works.
This year’s nominees for the Oscar for Best Live Action Short Film are a diverse selection of stories from across the globe.
You’re Killing Me Susana doesn’t adhere to almost any of the rom-com genre’s stereotypes, yet its static characters cause it to stumble.
Morocco is an early Pre-Code romantic drama starring Marlene Dietrich and Gary Cooper, two eventual stars that came to epitomize Hollywood.
Live by Night is the next directorial effort from Ben Affleck, in which he also stars/writes/produces; it is another indicator of his talent.
Road to the Well has redeeming qualities, including fine acting and cinematography, yet it falls short of greatness from its lacking story.
Gentleman’s Agreement is not merely an indictment of anti-Semitism, but a film that also “agrees” with the domestic concerns of its day.
The Birth of a Nation is often relentlessly dark and bitter, and as a result is only partly a success at delivering its compelling message.
Arrival and Hell or High Water are both allegorical, effective films from last year, yet they also tend to state their themes too bluntly.