drama
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.
The potential is there for Batwoman to soar, but it’s going to need some serious re-working before it can get its feet firmly off the ground and into Gotham City.
Bong Joon-ho has put together an intricate, multi-layered portrait of inequality and class. At the same time, he keeps the experience fun and intoxicating.
Low Tide is a tactile, explosive study of masculinity, an exploration of what boys do, what makes them do it, and how they need to learn to stick up to each other.
Dolemite is my Name manages to be a loving ode to Blaxploitation and Black independent filmmaking while still being one of the funniest films of the year so far.
Temptingly measuring suspense and psychological anguish, A Dark Foe doesn’t always fulfill its thematic potential, but the effort ensnares you in its grip.
While it’s true that film as a medium is intrinsically subjective, it seems pretty clear amongst viewers with knowledge of film that Parasite will go down as a classic.