romance
Ordinary Love’s minimalist approach to the narrative puts a lot of pressure on the performers, but fortunately, Manville, Neeson and Wilmot shine through at nearly every instance.
Lovebites trusts its audience to make the connections, the empathy, and the call to action.
Romeos gets points for being one of the few films out there about a trans-man who gets a happy ending, but it is mired in unlikable characters who run the gamut of stereotypes.
William Hopson explores how Alan Silvestri’s score proves to be manipulative in the best possible way in Forrest Gump.
High Fidelity gives a whole lot of new meaning to Hornby’s novel while also honoring it at the same time.
In She’s in Portland, the elements feel superficial, with the core relationship feeling especially hackneyed.
Shelter is the kind of film you watch when you want something that is wholesome, but not chaste, that will end happy.
There are definitely moments in The Photograph that briefly feel like the Valentine’s Day treat it should be. But ultimately, it falls flat.
What Love Looks Like brings very little to the table in terms of originality or likeability. You’ve seen it all before, done better, and in more captivating ways and with better acting.
A lightweight premise with heavyweight emotions, Shoot to Marry lets you ride shotgun on a highly entertaining journey of modern romance.
For a movie like And Then We Danced, so steeped in the traditional culture of Georgian dance, to embrace its taboo subject matter is defiance, artistically rendered.
With the series now concluded, if there’s one thing that The Good Place has taught us is that we shouldn’t give up on trying to be better.
A Fall From Grace, a 2-hour phoned-in schlock, proves that when Perry mentions his film wrapped in less than a week, he is not exaggerating.
Let It Snow isn’t an overly ambitious film, but that doesn’t mean it’s not enjoyable.