drama
The Burning Season is an intricately told story of secrets, guilt, and lust, anchored by great chemistry between its co-stars, and a satisfying script.
The Movie Emperor spawns one of Andy Lau’s most interesting performances in recent years.
I’m thankful for Seagrass because I’ve rarely felt so understood by a movie even as there are always more stories to tell.
A touching portrait of personal resistance in the face of violence and repression, Shayda is a standout debut.
No Way Up still retains the entertainment factor, no matter its predictability and overarching absurdity.
The investment of Bleeding Love sneaks up on you delivering a deeply cathartic conclusion.
Durkin’s moving, muscular tale will astound and captivate you, and is unlikely to leave a dry eye in the house. The Iron Claw is a spectacular triumph.
For this Horrific Inquiry we take a look at 2010’s vampiric Let Me In.
Every time The Breaking Ice seems to be on the brink of shattering, it glides.
Float loses much of its authenticity and charm in the lackluster filler and predictability, drowning with no chance of rescue.
Kristy Strouse spoke with writer, director and star of Look At Me his journey from the film’s beginning to its fruition, a shared love for There Will Be Blood, and much more!
Disco Boy doesn’t quite work, though thanks to some quality craftsmanship and the always-fantastic Franz Rogowski, it does come close.
Kristy Strouse takes on three bold short films, wrapping up this year’s Sundance Film Festival with some horror, some comedy, and some punk rock.
In All I’ve Got and Then Some, Rasheed Stephens brings his own experiences to the big screen to tell a story of passion, dedication, and sacrifice.
A multilayered depiction, Good Grief delivers on what its title promises and audiences will find they are richer in experience for it.