drama
Blizzard of Souls is a movie made up of things a good movie is normally made up of, but with no comprehensive thread to connect them.
The tragedy in The Music Room, is that he believes in a world where elitism, patriarchy, and status are of equal value to the spiritual advancement of art.
From its very first beat, Silence & Darkness is filled with a lingering sense of distress, unfortunately gaining traction too late in the game.
But unfortunately, as Atlantis shows us, it takes more than a few stellar shots to make a character’s journey compelling.
Spoor combines the plot of a murder mystery with the morality of an old-fashioned fable to convey a message of righteous environmentalist anger.
Larisa Shepitko’s 1977 film The Ascent is virtually flawless, both Blu-Ray and film, on all fronts and comes highly recommended.
Although I applaud the moments of complexity, the film still falls into many of the same traps by simplifying the philosophical choices down to a binary.
Teenage Bounty Hunters hit an unlikely intersection of relatability, character and relationship growth, and adventure.
Retirement from the force isn’t just the end of his career — it’s the annihilation of his entire identity.
Pieces of A Woman is remarkable – it’s either the final great film of 2020 or the first masterwork of 2021.
The Dig finds a good old tale of British excellence but never quite brings it to life failing to avoid trite pitfalls along the way.
Sonia K. Hadad’s Exam is a 15-minute panic attack that doesn’t immediately de-escalate, embodied by Sadaf Asgari’s superb performance.
For this Queerly Ever After, Amanda Jane Stern takes a look at the 1996 film: Different for Girls.
Shadows is a snapshot of a long gone period, embracing the brash and unfiltered attitude of its era by refusing to omit its mistakes.
Jim Dixon spoke with director Ansel Faraj about his film Loon Lake, blaspheming, and burning down the church in the rain.