drama
Astonishingly, Feel Good Season 2 gets darker and more uncomfortable without abandoning its humorous reprieves.
Kirby Voss’ We All Think We’re Special is an intensely authentic and palpably distressing drama about the pains of addiction.
In the latest installment of Queerly Ever After, we take a look at 2016’s Fair Haven, a well-acted conversion therapy drama.
Directed by Zaida Bergroth, Tove allows the brilliant artist and author behind the Moomins to finally take center stage herself.
Grímur Hákonarson’s The County follows an Icelandic widowed farmer as she fights beauracratic corruption and injustice.
Lisey’s Story is a miniseries of magic, both in what it explores universally, but also what it generates internally.
Mohammad Rasoulof’s There is No Evil is an excellent and riveting drama with a few divets holding it from perfection.
The Underground Railroad is so much different than anything Jenkins has ever worked on before; it’s grander and more ambitious, it plays with magical realism to a brilliant result
John Calucci and Brandon LaGanke’s 2020 comedy Drunk Bus is unconventional, funny, and poignant from start to finish.
In a transformative paranoia and confined space, The Woman in the Window may not be the best remake of a classic tale, but it is far from the worst.
From witches to Satan, Rosemary’s Baby has it all, and while it may not have aged as well as hoped, it is still a classic film that still influences.
Walkaway Joe seems like little more than a run-of-the-mill kitchen sink drama with a nine-ball angle. But Wright’s film is remarkably poignant.
In the film’s approach to try depicting its scandalous central relationship as naturally occurring as possible, Wet Season sacrifices narrative or emotional thrust.
While it may not be as ambitious or as deep as it could have been, it is an exciting genre film with a charismatic performance from Angelina Jolie.
Robert Machoian’s The Killing of Two Lovers is an upcoming marriage drama starring Clayne Crawford, Sepideh Moafi, and Chris Coy.