United States
Despite a strong premise, The Unraveling is a film that doesn’t quite go to that dark place that it should, with poor writing and acting.
Every year, between five to ten movies are bestowed the honor of being nominated by…
Tao Raspuli’s Monogamish asks the viewer to challenge their own pre-conceptions on relationships, with an effective, non-judgemental eye.
Despite big, loud, planet destroying special effects, Geostorm still ends up feeling like a dull, tired excuse for a blockbuster.
Brad’s Status is a film about social media that is bolstered by its performances, but ultimately it is not particularly memorable.
Feeling both vitally important and imminently personal, The Light of the Moon is as remarkable as its title is poetic – and twice as powerful.
It may take certain liberties with the truth, but Professor Marston and the Wonder Women is still an enjoyable, inspirational biopic.
Only the Brave is more concerned with its traditional gender politics than making any grander statement on man’s relationship with nature.
Despite belonging in the overdone sub-genre of found footage, Hell House LLC manages to just stand out amongst the masses.
Whilst it has many problems, Maya Dardel is a prickly, contentious and fascinating film that knows with absolute certainty what it is.
Happy Death Day is a fun slasher film that likens back to the slasher days of old, albeit with a Groundhog Day twist.
Expertly performed by the dynamic duo of Rooney Mara and Ben Mendelsohn, Una proves to be a searing – though discomfiting – watch.
While neither boring or a laugh-riot, Crash Pad is a perfectly fine and forgettable way to pass ninety minutes.
An Inconvenient Sequel may struggle narratively, but its message about coming together to battle climate change is as important as ever.
The Bachelors is a scarcity of a film, one that transcends several genres to create an affecting orotundity through its singular voice.