drama
With its flashes of humor and music, The Hole is a disturbingly timely depiction of humanity in crisis that speaks to our current isolation.
Charles Officer’s film Akilla’s Escape is an engaging and hypnotic look at a young man’s attempt to break away from a violent lifestyle.
We Are Who We Are thankfully delivers on what it promises in an immersive coming of age drama from one of the greatest filmmakers of our generation.
Brutal in its subtlety, Língua Franca is a harrowing portrait of not only Trump’s America but also Duterte’s Philippines.
Apples is a gritty, subversive take on identity, memory and grief and an outstanding first feature from Greek director Christos Nikou.
Stephanie Archer had the opportunity to participate in a round table with director Jon Stevenson and cast members Wil Wheaton and Brian Landis Folkins about Rent-A-Pal.
Blake Collier takes a deeper look at the three Estus W Pirkle-Ron Ormond films that bookended the 1970s.
There is a rare nature and rough surface to Holler that will resonate with audiences through the need for survival, perseverance and opportunity.
While it may not land as smoothly as it hopes for, what #Alive offers here is still refreshing, warranting the attention of its audience.
While the energy soars, I Am Woman is certainly neither the greatest musical biopic nor the most intriguing account of a musician.
William Hopson create the perfect double feature with Hamilton and Amadeus through the shared focus of their antagonized protagonists.
Rent-A-Pal succeeds in recreating its 90s aesthetic as it examines the videotape dating culture of the 1990s in this retro horror film.
Alex Lines reports from MIFF 2020 with three films: Last and First Men, Anne at 13,000 FT, and Dark City Beneath the Beat.
As one of two films representing Iran in the 77th Venice Film Festival, Ahmad Bahrami’s The Wasteland wrestles with themes of class and race.
Mambo Italiano is a comedy so broad and uncommitted it doesn’t know what to do with itself, leaving much to be desired.