drama
There are shades of the director’s previous work, but The Irishman is like an amalgamation after decades behind the lens.
Queerly Ever After is a bi-monthly column where I take a look at LGBT+ films…
1917 is a vision of uninterrupted chaos, equipped with a unique blend of personal pathos and visual bravado.
There are plenty of reasons to recommend Wang Xiaoshuai’s So Long, My Son, but the greatness is infuriatingly just out of grasp.
This episode of His Dark Materials expands the show’s reach and vision just beyond one character, so that we can speculate on things to come.
Anya does its best to provoke you into forming an opinion about the importance of conserving insular cultures through complex, nuanced filmmaking.
The Plagiarists is peculiar, fairly self-reflexive, and laced with grueling yet equally as rewarding ambiguity that comes from the artists’ seat.
In a world that seems more divisive and hopeless everyday, A Beautiful Day In The Neighborhood is a beautiful film that anyone and everyone could and should see.
Though plot-wise Atypical is somewhat formulaic and uses many tropes from the drama/comedy genre, its utilization and handling of these make it a step up from many shows of the same variety.
Better Days is a mostly earnest drama that plods through bullying, academic stress, murder and tragedy, retaining a fittingly bleak and dolorous tone.
While it does suffer from a few hiccups along the way, it finds its strength in its source material and its characters, cast and crew.
For all its faults, Knives Out is a brisk and often engaging film that will provide audiences a moderately enjoyable ride.
Not as impactful or satisfying as its daring predecessor, The End of the F***ing World is not the end of the world, but it’s not a crucial send-off either.
Earthquake Bird is likely to be but a blip in the filmography of both its stars and director.
In a compassionate ending, the season wraps up with a happy ending for all, a rarity for American Horror Story.