romance
Cairo Time is a romantic drama from 2009 set in Egypt that focuses on different women and their perception about relationships and life.
Abbas Kiarostami’s Like Someone In Love creatively shows how the concept of love changes from person to person.
As a production company, Disney and their famous princesses have changed significantly as a response to changing social norms.
La La Land is a tribute to classic musicals, yet also attempts something different by subverting the romanticized outlook that they have.
Passengers is a dull sci-fi that is neither saved by its star power nor by the potential of the story which it initially seems to convey.
In Loving, Jeff Nichols’ historical drama about an interracial couple who helped change marriage laws in The United States, the characters are reflections of Nichols own lineage and it’s quite the different kind of biography.
Amongst the influx of romantic comedies, (500) Days of Summer still stands above the rest, presenting a harsh yet realistic perspective of love.
Frank & Lola is an original look at a romantic relationship affected by past sexual abuse, and is presented in a mezmorizing noir tone.
With Allied, yet another volume has been added to the overflowing pile of wartime films. Though with the talented Robert Zemeckis at the helm, it seldom showcases his trademark focused and proficient direction, which is therefore not enough to raise the film above its many aching flaws.
The Handmaiden is director Park Chan-wook’s most explicit film to date, if only in its portrayals of warped male sexuality contrasted with the comparatively emotive sexuality of women.
A United Kingdom has plenty of flaws, but more than makes up for them with a heart and an affection that is utterly intoxicating.
I’m going to be honest with you, I loathed the first two Bridget Jones films. I read the books as a teenager and I was so excited when the first film came out only a year or two later. But I didn’t like it one bit.
To title your film with the superlative ‘Fantastic’ is playing with fire. Firstly, in this age of Marvel’s silver screen domination and DC’s valiant attempts to catch up, it would be understandable for any jaded cinema-goer to skip this one, expecting another facile, spandex-clad superhero epic; secondly, if it fails the headlines write themselves, and every movie critic worth their salt would crowbar in a reference to the irony of the film’s title. Luckily, Matt Ross’ sophomore effort Captain Fantastic, following 2012’s 28 Hotel Rooms, will have few critics drawing knives, and anyone eagerly searching for an antithesis to the recent barrage of superhero blockbusters in cinemas will be satisfied, if not delighted, when the credits roll.
Raj Kapoor, Dilip Kumar, Nargis, Dev Anand, Vyjayanthimala, Guru Dutt, Madhubala, Raaj Kumar, Rajesh Khanna, Meena Kumari, Shashi Kapoor, Hema Malini, Sanjeev Kumar, Amitabh Bachchan, Rekha, Anil Kapoor, Madhuri Dixit, Salman Khan, Shah Rukh Khan, Kajol, Aamir Khan, Aishwarya Rai, Hrithik Roshan, Kareena Kapoor, Priyanka Chopra, Ranbir Kapoor, Deepika Padukone. To a majority of westerners these names will have very little resonance, if any at all. For many cinemagoers on the Indian subcontinent, however, these highly-revered and much-followed household names together epitomise the most significant cultural product in the region:
When deciding whether a story should be written as a book or a screenplay, a writer must decide which media would be the best platform to tell their story. The Light Between Oceans, based on a novel by M. L.