Crash Landing (1958)

'The Lovebirds' is one of those movies that has a very direct appeal when it comes to its comedy. There isn’t a singular style, so much as tidbits of various ones here and there.

'Pariah' tells a powerful, mesmerizing, and unflinchingly honest story of identity.

Strangers in a crowd, exchanging glances, looking away, continually managing to run into each other then part ways, end up at the same diner, find they've rented the exact same vehicles, and are then made to travel together to learn once more whether they can both find genuine adoration and companionship again. This really does, in so many words, sum up the foundational gist of of this new feature film from writer Seth Reiss ("The Menu") and director Kogonada ("The Acolyte", "After Yang"). Yet, it's all only the set-up for the REAL wonder of everything that happens before, during, and in the aftermath of a magical, meaningful journey.

Dracula evolved from a person to a monster and then from a monster to a person.

‘Concerto’ is esoteric at best, meant to satisfy the non-melanted’s sense of nostalgia. It is revisionist at worst, cherry-picking images that defy the true tapestry of the human condition.

Ripley is a great character because she serves two distinct, but rewarding, purposes in the original film and the sequel.