drama
In its entirety, Mogul Mowgli is a cinematic experience that will resonate with the heart and enlighten the mind.
Haunting, strange, and engrossing, What Josiah Saw works in perpetuating perceivable dread.
Barley even a movie, Longhorns is just terrible, lacking any redemption – and there really isn’t that much else to say.
It’s films like Angel’s Egg that make the critic feel like a charlatan, aimlessly looking for patterns in the entrails.
Equal parts fantastic and frustrating, Ema soars sky-high but cannot maintain those heights over the course of the film.
Not everyone will be won over by the weirdness of Annette, but for those who are, they will absolutely love it.
Naked Singularity tries to connect the legal and sci-fi elements of its story but ends up not quite capturing either aspect of the film.
It’s not a perfect specimen in filmmaking, but My Sassy Girl is an imperfect exercise in romantic storytelling that can’t help but win you over.
Written and directed by Edson Oda in his directorial debut, Nine Days is as thoughtful as it is beautiful, as heartbreaking as it is jovial.
On it’s 25th anniversary, Orson Welles’ oeuvre The Stranger towers over the thrillers with which it’s so often been unfairly bundled over the years.
Thirty years on, the poignant, thoughtful Only Yesterday stands out as a mature, sophisticated gem among Studio Ghibli’s catalog.
Looking at the legacy of Gorō Miyazaki’s best film, From Up On Poppy Hill, which was written by his father, the legendary Hayao Miyazaki.
Based on performances alone, it is a memorable coming-of-age tale, and it is a step in the right direction when it comes to destigmatizing mental illness.
Based on Hannelore Cayre’s novel, Jean-Paul Salomé’s La Daronne – Mama Weed in the U.S. – is a dark comedy about a translator-turned-queenpin.
In rapid succession over the past couple of years, the cinema of Hong Sang-soo has…
