drama
Kaili Blues is a debut feature that is inspired by many Chinese filmmakers that came before; yet it emerges as a unique and compelling film.
White Girl reflects the embodiment of societal and interpersonal dysfunction while exploring the role of the body in film and in life.
Collateral Beauty is a messy film that is almost saved by its heartwarming theme and performance by Will Smith – though still not quite.
Twenty Twenty-Four is a sci-fi that alerts its audience as to a possible world-ending scenario, though it’s not a complete success.
La La Land is a tribute to classic musicals, yet also attempts something different by subverting the romanticized outlook that they have.
Passengers is a dull sci-fi that is neither saved by its star power nor by the potential of the story which it initially seems to convey.
Despite its length, Toni Erdmann succeeds because of the character study at its core, and also contains one of the best scenes of the year.
Brutal is an unentertaining slog to get through from start to finish, and it should have been abandoned on the very first day of shooting.
Manchester by the Sea is a subtle, nuanced story of loss and grief, brought to life through restrained direction and powerful performances.
The Grifters is a films which has largely been lost through time; here, we explore why it might be worth revisiting.
In Loving, Jeff Nichols’ historical drama about an interracial couple who helped change marriage laws in The United States, the characters are reflections of Nichols own lineage and it’s quite the different kind of biography.
Amongst the influx of romantic comedies, (500) Days of Summer still stands above the rest, presenting a harsh yet realistic perspective of love.
Closet Monster is a movie that fluently balances drama and humor, but the very essence within its message is one of defiant and radical hope.
Other People, a semi-autobiographical film based on writer Chris Kelly’s experiences, works in a beautiful way due to the subtext behind it.
Nocturnal Animals is Tom Ford’s latest film, presented in lavish and bright neon colors; though it also possesses a hopelessly dark view.