grief
Avoiding the classic cliches of a grieving teenager, Nick Naveda’s debut Say You Will will pleasantly surprise any movie lover, perfectly capturing the feeling of loss and romantic confusion.
The House With A Clock In Its Walls has a sense of mischievous fun, with a hearty serving of chills and chuckles to overwhelm any shortcomings.
Liz and the Blue Bird is an indepth and stylistic chracter study that explores the details and hidden emotional gravity of seemingly unremarkable situations.
Sometimes a film’s low budget can get in the way of its narrative, cohesiveness, and overall watchability. However, viewers won’t be disappointed with Counterfeiters and its quality.
Director Adam MacDonald mostly succeeds with Pyewacket being a simple, heartfelt tale focusing on the disintegration of a mother/daughter bond, without too much background noise as a distraction.
Alexander Payne’s films are diverse yet also share similar directorial trademarks, including the focus on middle-aged, neurotic protagonists, loss of a loved one, existential crises, and more; here is a rundown of his more than two decades in the industry.
Diane Kruger carries In the Fade on her leather-clad shoulders and ensures that you’ll walk away from the film feeling absolutely rattled.
Three Billboards Outside Ebbing, Missouri is a funny yet brutal film, presenting complex quandaries of grief, violence, and rage.
Maybe it’s slightly too long and loses focus on a handful of occasions, but Kingdom of Us is a vital watch, carrying a real sense of urgency.
The Bachelors is a scarcity of a film, one that transcends several genres to create an affecting orotundity through its singular voice.
Last Flag Flying is an experience that likely won’t stay with you for long, but it is pleasant enough viewing to recommend a watch.
Despite its great practical effects, the once compelling twists have now become overdone in Saw III and are not as shocking as they once were.
As given by its name, A Ghost Story is a supernatural tale, yet it touches on themes of love and grief in a uniquely beautiful way.
Elliott Lester had juicy, absorbing material to work with. Unfortunately, he turns Aftermath into an underwhelming and empty endeavor.
Hope Dickson Leach’s debut The Levelling is a familiar story of grief, told with an emotional incisiveness by brand new talent, and reminds us the British film industry is alive and well.