The End of Oak Street
THE END OF OAK STREET is a mostly forgettable adventure that evokes the better alternatives it seeks to use as inspiration.
THE END OF OAK STREET is a mostly forgettable adventure that evokes the better alternatives it seeks to use as inspiration.
OBSESSION is at once familiar, with a simple premise, but devastatingly effective, unrelenting, unsettling and terrifying.
Instead of portraying resistance as heroic, EAGLES OF THE REPUBLIC examines the subtle, often demeaning negotiations individuals make with power.
Nolan’s choice to adapt the Odyssey shows the continuing influence on modern storytelling, and the technical choices are emblematic of Nolan’s domination of modern blockbuster filmmaking.
Despite some odd omissions, OUR LAND is a sweeping exploration of the relationship between the people of England and their land.
With a nuanced perspective and a harmony of performances and technical elements, THE INVITE elevates itself into a surprisingly affecting examination of love from director Olivia Wilde.
At the rotting core of ROSEBUSH PRUNING, there is nothing new or purposeful to be gleaned from its boring, pointless provocations.
THE LAST GUEST OF THE HOLLOWAY MOTEL is a testament to a wish to change the oppressive gender ideals living in the football sphere and start building a community in support of queer football players.
Based on the 1919 book, Tina Gharavi’s film adds entertaining anachronisms and dramatic storylines to suit its new medium; some of these choices land, others are not given the time to warrant their daring.
BLUE HERON is a gentle demonstration of cinema’s power, and Romvari’s ability to create a tangible, shared experience of something difficult to put into words. The film is one of fuzzy memories & half-truths, but the impression it leaves is firm & enduring.