A property developer wants to take over an Australian beach for a high rise resort. He sends his son to Australia to check out the situation, posing as an exchange lifeguard. He falls in love with a woman who owns the land his father needs for the development and finds himself sympathising with the locals.
Overall, Matthias & Maxime doesn't reinvent this romantic concept. But it also doesn't need to. Dolan weaves a story of love, friendship, and life that is both realistic and bittersweet. The film is nuanced and sensual in a way we don't get to see often with LGBTQ characters. It's a film that we can celebrate.
A quiet film that does not demand your tears but earns them. It explores love that lingers, timing that fails, and the silence between what was and what could have been.
Overall, 18 Presents feels more like a soap opera than a drama, and I feel bad for saying that since the concept is based off a tragic story (even though it’s loosely). I’m sure other people will find this film emotional for them, but as for me, it’s bland and forgettable.
In this remake of the 1993 film of the same name, The Wedding Banquet follows the life of two queer couples as they struggle with life-changing decisions.
The Roses is a wickedly sharp marital warfare comedy that transforms domestic dysfunction into high art. Olivia Colman and Benedict Cumberbatch deliver powerhouse performances as a couple whose fairy-tale romance implodes when his architectural career collapses just as her culinary empire takes off. What makes Jay Roach's remake so devastatingly effective is its refusal to pick sides—both spouses are equally sympathetic and monstrous, wielding Tony McNamara's razor-sharp dialogue like weapons forged from shared intimacies. It's a film that dares you to laugh at relationship wreckage while forcing you to confront the uncomfortable truth that the line between passionate love and mutual destruction is terrifyingly thin.
