The human experience, sometimes at its most raw, is what you’ll find in the drama tag.
In “I.S.S.,” it appears Ariana DeBose plans to actively avoid the usual Oscar slump a lot of people, especially people of color, experience via a sci-fi drama where there is a nuclear war and a battle for the International Space Station.
“The Line” is a wonderful showcase for Austin Abrams’ talent as it wastes both Halle Bailey and Angus Cloud.
“Sublime” delivers a slice-of-life story, and performances that gives perhaps the most tame LGBT story you may have ever watched.
“Dead Girls Dancing” feels aimless as you await the story to pick up and make clear what we’re building up to.
From the courts of the late twentieth century to the modern era, ‘White Men Can’t Jump’ takes the stage once again. The original brought a story to the game and the 2023 remake breaks barriers and defies expectations. Yet, this version still leaves audiences desiring true novelty despite the cheesy allure of its hapless twists and surface-level exploration of human suffering.
Mary Herron and John C. Walsh’s “Dalíland” portrays the life of one of art’s most celebrated and inspiring figures with a tame and uninspiring story.
Tracee Ellis Ross continues to push beyond her comedy empire with the kind of role which deserves to be in awards contentions.
“The Listener,” focused on a peer crisis hotline worker, is a stirring, frustrating, and potentially tear-inducing film.
Starring only two people, “You Will Never Find Me” is a masterful depiction of building up to something bizarre and making every moment worth it.
“The Graduates,” thankfully avoids showing a school shooting, but what’s left leaves you wanting more.
“Our Son” presents a shift in Billy Porter’s career from being the loudest in the room due to his booming voice to being the most notable due to his performance.
Georgia Oakley’s “Blue Jean” is an honest, complex, and relevant portrait of how anti-LGBT laws impact the individual.
Tina Satter’s direction and Sidney Sweeney’s performance create a terrifying yet true nightmare in “Reality.”
Beautiful and slow-moving, “Past Lives” reminds you that love is often a series of decisions that inspire feelings, not the other way around.
“The Boogeyman” crafts grief, scares, and compelling performances in a way few monster movies do.
Season 2 of the five-season planned “Yellowjackets” drags early on and seems imbalanced between the past and present, but does end on a high note.
American Born Chinese is ambitious and nuanced in its Asian American representation, yet there are parts that feel watered down or changed by its Disney overlords.
A few chronically funny mishaps and personalities lead to a half-a-million-dollar reward.
“Once Upon A… One More Time” is a feminist musical set to the music of Britney Spears that may feel like it is preaching to the choir and needs more oomph in its ensemble numbers.
While at times slow-moving, the love story between Rosemary and Henry will make you swoon, just as much as Michael Richardson plays up a tortured soul type.
A character guide for Apple TV+’s “City On Fire,” with character descriptions, quotes, names of actors, and more.
Margaret Qualley presents a dictionary-worthy depiction of mind f*** that deserves notice.
Keke Palmer’s “Big Boss” certainly had the potential to be something notable, but the music interrupts what brings the film value.
“Monica,” in avoiding dramatics or the usual trauma porn feel of LGBTQIA+ stories, presents something which leaves you wanting more, in good and bad ways.
“Book Club 2: The Next Chapter” is a light-hearted, funny, and beautiful portrait which uses Paulo Coelho’s “The Alchemist” as the catalyst for everything.
“Bees & Honey” feels like a modernized 90s sitcom, like “Martin,” but with modern themes and heartening drama.
A summary of how “Clock” (2023) ended and whether a prequel or sequel is possible.
While there has always been peer pressure and conversations regarding a biological clock regarding maternity, “Clock” depicts the experience in all its horror.
An Army sergeant gathering intel on the taliban enlists the aid of an Afghan translator/interpreter who ends up saving his life through impossible odds.
“Are You There God, It’s Me Margaret” is the kind of coming-of-age story that isn’t produced enough with this amount of marketing.
An ancient evil possesses a 12-year-old boy with larger designs on the pope’s exorcist.
While”Beautiful Disaster” may appear like another strange, bad boy with potential story, it is far better than the movies you’d want to quickly compare it to.
Questions get answered, answers get questions, and everyone gets to be a detective in the shocking School Spirits finale!
Beef is fun, frustrating, and always fascinating due to raw performances from Steven Yeun and Ali Wong.
A summary of how “Safe Word” (2023) ended and whether a prequel or sequel is possible.
A summary of how “Acidman” (2023) ended and whether a prequel or sequel is possible.
“Hunger” might be a wonderful lesson about the cooking industry, but it doesn’t tap as deeply into its underdog story as it could have.
“Safe Word” may have the occasional spicy BDSM moment, but it, unfortunately, plays up the stereotypes that those into kink are mentally ill.
While a slow movie to start, as Maggie starts to be honest and Lloyd opens up, it becomes a beautiful father/ daughter story.