United States
Letters to Daniel is pretty uneven at times, but the story it is telling is important and engrossing.
There’s so much to be said, and yet we settle into a story that sometimes takes the easier road if not the obvious one.
The Devil All the Time is disturbing and unrelenting in its catharsis and its portrayal of the cycles of violence.
The Paper Tigers is crafted with a sense of passion that can only come from a filmmaker who is eager to express their own intimate creativity.
If you’re feeling nostalgic for early oughts movies like She’s All That, then Latter Days from C. Jay Cox is for you.
The Old Ways is engaging and horrific, keeping relevant themes in the foreground while entertaining with solid and gruesome scares.
French Exit is one of the most distinctive films of the year, delivering witty dialogue, nuanced performances and a resounding depiction of acceptance.
In an era where hand-drawn animations are fewer and fewer, films like this one ought to be shouted from the rooftops and celebrated.
The movie itself may not linger in the minds of viewers, but Moss’ performance almost certainly will.
Fargo feels monotone as it’s too busy delivering speeches instead of creating compelling arguments about the timeless topics it wants to tackle.
Ultimately it can’t sustain moments in the same way as the likes of Inside Out, but it’s certainly worth investing time into.
The Devil Has a Name is worth watching for its message and for the strength of its three leading protagonists.
There is a cathartic experience Shithouse lends to its audience, a character study not so much in the characters themselves but character of emotions.
The Truffle Hunters provides a unique view into a world and an industry many have little knowledge and understanding of, delivered with heart and passion.
Mike Flanagan’s The Haunting of Bly Manor once again sees him revisiting an old horror text as a roadmap to explore human emotions.