drama
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.
The Unknown Girl sees the directors yet again flirt with their beloved recurrent theme of criminality, here taking their most overt detour into procedural thriller territory to date.
All We Had tells the story of a homeless woman and her daughter and their struggles of having to refind a place in the world for themselves.
Anonymous is a film based on computer hacking, yet, with a less than subtle focus, it feels much like a tamer version of the show Mr. Robot.
With Allied, yet another volume has been added to the overflowing pile of wartime films. Though with the talented Robert Zemeckis at the helm, it seldom showcases his trademark focused and proficient direction, which is therefore not enough to raise the film above its many aching flaws.