“Fjord” is Beautifully Indecipherable
Fjord, like its story, is not a conclusion, but a beginning.
Fjord, like its story, is not a conclusion, but a beginning.
The Cycle refuses to lean into the same old, same old monster-movie tropes and builds the entire premise around the intellect and the history of a capable, smart female protagonist.
There is no aspect of this film that falls short, except perhaps in minor ways.
Despite it being one of the most visually impressive action movies I’ve ever seen, everything else fell short of my expectations.
Director and writer, Miles Marti, brilliantly created a film that captures the story of a kid that learns a new reality all within the walls of her classroom. Tears Of Knowing lightly steps into the devastation of loss through a childhood lens, and presents a perspective that is not often acknowledged. Though grief and loss are important aspects, the film also showcases excellent portrayals of trust, innocence, and naivety.
When a group of White women are invited to dinner by an Indian woman and a Black woman to talk about race in America, sparks fly.
This feels like the creative team wanted to make a body horror film, but the studio wanted to make another generic blockbuster.
Peppered with whimsical humor, heartbreaking realizations, and heartwarming discoveries, The Incomer is surprisingly endearing through and through.
A masterful portrayal of a long-forgotten story that needs to be told.
Street Fighter cannot be genuinely recommended, even if it is abundantly clear that much effort was expended.
One thing’s for certain: Holmes has star power. We may not be able to see everything, but we’re certainly all watching.
This glimpse into this world is so captivating that it is an easy must-see, nearly flawless, and exceptional in every way.
Guillermo del Toro's masterwork "Pan's Labyrinth" stands test of time as it celebrates 20th anniversary in theaters.
Disguised as a cosmic highway horror, Alexander Ullom’s It Ends is a beautiful, albeit terrifying, metaphor for learning that if you want to survive adulthood and become your own person, you have to learn to let people go.
Prajdnik Awasthi’s film uses a mix of metaphor and more grounded details to tell the story of childhood sexual abuse that caused the narrator to close himself off from his father.
While this film thinks that it is diagnosing the cause, it is merely diagnosing a symptom instead.
A deer caught in the headlights is the perfect metaphor for Animals.
This film’s ambition is betrayed by its lack of substance.
The actions that Verity confesses to are tragic. But the way to prevent those actions isn’t to force the related emotions into the shadows.
Amid the ongoing debate surrounding Christa Pike’s death sentence, watching East of Eden, which shows that women can be monstrous too, is definitely refreshing.