Tyler Perry apologists may find pleasurable qualities in Sergio Navarretta’s The Colossal Failure of the Modern Relationship. Then again, even those movie goers have seen this sort of romantic peril too many times by now (the Why Did I Get Married? series).
The Bad Batch is a gnarly postmodern western.
Jude Klassen’s feature film debut Love in the Sixth is a hodgepodge of “stuff”, but I kind of expected that.
By: Jessica Goddard Directed by Roger Michell (Notting Hill, Changing Lanes), My Cousin Rachel is a mysterious, ambiguous, and appropriately moody adaption of the 1951 Daphne du Maurier novel of the same name.
By: Nick Ferwerda Song to Song is tough to summarize. Then again, I expect nothing less from Terrence Malick. The Oscar-nominated filmmaker is known to make, what can be considered, poetic films that consider plot as a secondary function. Honestly, I’m okay with that. It’s different and, every now and then, it’s refreshing.
By: Nick Ferwerda To my surprise, Bitter Harvest – a film that was supposed to be about the Holodomor Genocide in the early 1930’s – is actually a mediocre love story. I didn’t say it was a good surprise.
Kiss and Cry is a lovely Canadian companion to Josh Boone’s crowd-pleaser The Fault in Our Stars.
Often, you’ll hear a film criticized for having a premise that’s more suited for a short film rather than a feature-length movie. Filmmaker Saul Pincus, who has a background in making shorts, has surely caught wind of this comment because you can see the mechanics in his latest breakout indie Nocturne try to dodge this nitpick.
By: Jessica Goddard The Space Between Us really wants to be a ground-breaking, memorable sci-fi love story, and maybe if it’d stuck to that alone, it would’ve been a better film.
I appreciate movies like Sean Mewshaw’s Tumbledown. As someone who is asked on a daily basis for movie recommendations, Tumbledown provides me with a safe, warm suggestion for easygoing audiences.