romance
Chronically Metropolitan is a quirky romantic indie about life in New York City; though not perfect, it’s reasonably enjoyable.
The Incredible Jessica James has an infectious charm to it, bolstered by Williams’ strong lead performance and a positive central message.
Ying & Yang is empowering and heartbreaking, giving a window into the messed up mind of a man deciding his own fate.
Matt Keeslar is a lesser-known actor that nonetheless gave some fine performances across many different genres.
Lacking substance or exploration of themes, The Bad Batch is a pointless post-apocalyptic, psychedelic trip to nowhere-land.
A wonderful debut from essayist Kogonada, Columbus is as much about slowing down and taking stock of your life as it is a slow burn in itself.
In the Shadow of Women is alluring in its presentation, but ultimately doesn’t have much to say about infidelity and relationships.
In this version of Marivaux’s play False Confessions there are laughs to be had, but its adaptation to modern day makes it a confusing watch.
Fighting Belle initially seems to have potential as a unique and inspirational revenge story, but it ultimately feels cringeworthy instead.
Something Like Summer is an odd yet mostly satisfying mix of good and bad, with wasted moments but also bright themes that shine through.
Passengers, upon release, was panned as a misogynistic fantasy; but here’s why it might actually be more progressive than that initial take.
Gone is the heyday of the classic 90’s romantic comedy, but why is it that so many contemporary romantic comedies fail?
Devoid of any subtlety and bereft of a strong plot, the fact that a film so reductive as Blind was made this recently is quite shocking.
Love at First Child offers nothing new in the romantic comedy genre, but some laughs and chemistry between the leads make it a pleasant watch.
There’s a way, many ways, actually, to make a satisfying film about a lighthearted romp, but Paris Can Wait never finds any of these paths.