drama
Disappearance at Clifton Hill is at-times intriguing and often stylish, marred by its cliched insistence on making the audience question the authenticity.
We take a look at three of South Korean filmmaker Hong Sang-soo’s films: Woman on the Beach, Hill of Freedom and Yourself and Yours.
Based on Bong Joon-Ho’s masterful film, the TV adaptation of Snowpiercer starts slow but builds to a fascinating finale.
The Rental may lack a traditional killer, gore and even an ending but it’s a delicious tale of betrayal and paranoia.
Irresistible seems too afraid of being part of the noise to pull those kinds of punches, and that costs the film some urgency.
The tone of First Cow is warm and fuzzy until the very end that watching it unfolds is like going through a soothing meditation.
There’s certainly a lot to unpack in a film like Wet Season, and it’s something that will surely stick with you for a very long time.
The Painted Bird is a brutal film, yet, if you can stay to the end, you will find a film deeply rooted in the need to keep pushing forward.
Combined with Cianfrance’s ‘addiction’ to this story and the intimacy of the acting, I Know This Much Is True creates a palatable amount of realism.
Greyhound passes by as a monotonous series of skirmishes that never feel that threatening, even when boats are exploding around them.
Exit Plan is a slow burn, but since its stakes are the choice of life and death, every moment is filled with empathy and intensity.
The Way He Looks is a poignant coming-of-age movie with an incredibly sweet romance between Leo and Gabriel at its core.
Musanna Ahmed spoke with director Mark Jackson about his film This Teacher, co-writer Dana Thompson and star Hafsia Herzi, and more!
Bloody Nose, Empty Pockets is an immersive experience to say the least. It’s a bold cinematic achievement and fine work of deception.
Dark demands patience and provoked tempting reflection on fate, it’s final season feeling organic and giving the send-off it deserves.