A 30-something woman navigating through love and heartbreak over the course of one year.
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Reviews
This is a great film for the Fantastic Fest audience and those who love twisted humor.
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Interesting, though a bit fragmented during its final 10-15 minutes, ‘The Quarry’ feels like Cormac McCarthy Lite.
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Marc Meyers’ heavy metal horror flick ‘We Summon the Darkness’ starts strong, but soon turns into a standard stalk-and-slash.
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A Carpe Diem fever dream about love, loss, failure, fate, and time travel, ‘Same Boat’ is a delightful little surprise.
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A sci-fi suspense thriller that’s as interesting as it is ambitious, Vivarium probes the evolving nature of the human condition and notions of “home.”
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Bill Nighy and Annette Bening give masterful performances in William Nicholson’s new divorce drama. The characters aren’t always likable, but the lead’s performances will keep you entertained throughout.
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Director Benh Zietlin follows up ‘Beasts of the Southern Wild’ with a re-telling of the Peter Pan fable, from Wendy’s POV.
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‘The Postcard Killings’ is little more than a rote, paint by numbers serial killer thriller with stock elements most have seen before.
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Ben Affleck is at his best in years in ‘The Way Back.’ Bringing personal experience to a role where the character struggles with vices, Affleck excels and is charming in his unique way. The film is not without it’s flaws, but it works and the emotional impact is there.
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‘The Banker’ centers on two Black businessmen (Anthony Mackie and Samuel L. Jackson) in the 1950s as they attempt to build a real estate empire in Los Angeles.
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Pixar’s latest outing takes audiences to a magical world where two brothers find the power to bring back their father for one last chance at getting to know him.
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What makes ‘Extra Ordinary,’ out March 6, work so well is that it’s a haunting comedy, which allows for subversion of so many tropes.
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‘Run This Town’ is an ambitious yet overstuffed political thriller with about two B-plots too many.
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‘The Way Back’ is a solid and entertaining flick even if it’s devoid of any true originality within the confines of the two genres it’s kicking around in.
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