drama
Sátántangó is the kind of film that so few filmmakers have the opportunity to make, and even fewer are given the chance to have them shown and cared for so widely.
Ever since its Palme d’Or winning debut at Cannes, Parasite has been accumulating buzz like…
After the Wedding wants nothing more than to be a tearjerker, but the emotions run cold and the twists are all for show.
Bree Duwyn covers the second half of the first season of Carnival Row, in which the show’s writing increased in quality.
Monique Vigneault settle down over tea with Ina Weisse to talk about her latest undertaking: The Audition, a portrait of a frayed music teacher at a prestigious Berlin academy.
Je T’Aime Moi Non Plus is another fitting example of what made Serge Gainsbourg such a unique and, yes, controversial talent.
Gemini Man smears a lot of fancy tech all over an empty and tiresome thriller.
My Zoe goes beyond expectations by delving into the emotional ruins of conflicting morality with such perfection, and proves Julie Delpy to be a truly remarkable filmmaker.
A coming-of-age film which strives for irreverent authenticity, Our Ladies ends up clunky, a little cringey and uninspired.
With a return to its roots, AHS 1984 is stronger than it has been in a long time, delivering the horror and the entertainment of genre films of the past.
The remake of Jacob’s Ladder is a simplistic but overly convoluted horror with no thrills and spills.
On its ten-year anniversary, The Coen Brother’s A Serious Man should serve as a cautionary tale for our world today. Read to find out more.
As much as Yang Chao’s film Crosscurrent has the look of a beautiful mystery, its quietness remains quiet and unnoticed and doesn’t manage to lead anywhere.
In this week’s Queerly Ever After, Amanda Jane Stern considers the 1997 film All Over Me, a coming-of-age story about the relationship between two girls.
With an intriguing story and a craftsmanship in filmmaking, The Wild Goose Lake is a ride you want to be on, holding on to you until the very end.