Relic draws on the debilitations of both time and space: the inevitable aging of the body and the places we call home, the inescapable repositories of memories, regrets, and the unknown.
The Truth is simply a delightful film all around.
Babyteeth is a lovely film, an unusually mature coming-of-age story that juggles restraint and abandon with astonishing ease.
Director Agnieszka Holland deftly presents a vision of genocide that is hard-hitting but never manipulative: the horror pervades the monochrome beauty of snow, skeletal trees, and pale, sunken faces.
There is a gemlike quality to this film: an emotional, earthbound portrayal of the lived experience of a black woman — fighting to make ends meet, retaining her integrity despite repeated indignities.
Spike Lee examines a number of racist stereotypes that illuminate the times these men lived through, the bigoted conditions of their service and sacrifice, and their continued struggle for respect and parity.
Shirley is hard to watch, hard to resist, and deeply, deliciously haunting.
The sensory delights of drive-ins have been pretty well forgotten in an age when watching movies has meant never leaving the comfort of your living room.
The enigma of Seberg’s demise hangs over this biopic, which focuses on the civil rights activism that made the actress a target for the FBI’s covert surveillance.
Robert the Bruce is a chronicle of war that contains moments of bucolic beauty and poetry that will surely appeal to lovers of historical films.