romance
The Discovery dabbles in too many genres and never makes a compelling case for any of them, resulting in yet another lackluster Netflix film.
Blue Jay weaves in and out of beautifully written scenes, with a minimalist visual style focusing solely on the performances and the interactions.
As one of his final curtain calls, Limelight is a sterling reminder of Charlie Chaplin’s contributions to culture and the art of cinema.
Song to Song brings A-game performances and an was aesthetically pleasing look, all that was missing was a strong plot.
Blending grounded animation with fantasy, Only Yesterday is a stunning work from Studio Ghibli, expressing down-to-earth life in the country.
An independently-funded film that is a delightful homage to ’90s romantic comedies, Non-Transferable is a hopeful sign of cinema to come.
Though with an unimaginative score, Akron effectively tells a story about two gay men who meet and fall in love in Midwestern America.
Departure is a coming-of-age film focused on the budding romance between a boy and his friend, yet it doesn’t fully succeed in this prospect.
With overly drawn-out scenes and a sprinkle of randomized and at times unnecessary drama, Fifty Shades Darker left much to be desired.
You’re Killing Me Susana doesn’t adhere to almost any of the rom-com genre’s stereotypes, yet its static characters cause it to stumble.
Morocco is an early Pre-Code romantic drama starring Marlene Dietrich and Gary Cooper, two eventual stars that came to epitomize Hollywood.
Nora Ephron had some very strange ideas about feminism and femininity, and today we pick apart You’ve Got Mail to prove it.
Paterson is informed by the rich tradition of American poetry and modelled as a gentle meditation on the minutiae of artistic life.
THE SPACE BETWEEN US struggles to find its original voice amidst the plethora of recent space exploration movies.
Cairo Time is a romantic drama from 2009 set in Egypt that focuses on different women and their perception about relationships and life.