So many experiences that cinema primarily assigns to young people are in fact, universal. Forgotten Roads feels tragically unique just because of its focus on older characters. 8.5/10
Tag: <span>2021</span>
As much as I don’t always understand that intent, The Girl and the Spider engaged me and caused me to think about deeper fictional themes than most movies, WLW or otherwise. 6.6/10
I can certainly see how this trendy, romantic story might appeal to people. But in this case, I guess I’m not people, because I personally didn’t enjoy what The Venus Effect presented me. 5.2/10
For a film to rate below a 3/10 for me, I need to think to myself, “wow, I hate this!” at least once while watching. I had that thought dozens of times watching 69 + 1.
1.8/10
Anaïs is an engaging portrait of a very messy woman with very messy relationships. While its writing isn’t as strong as The Worst Person in the World, the visuals and aesthetics of the film make it a more than pleasant sit. 6.7/10
Spring is borderline remarkable simply because of how unremarkable it is. 5.1/10
long Came Wanda is the first WLW film I’ve seen that includes the Covid-19 pandemic. And especially because this movie is very much a rom-com, I think maybe they shouldn’t have. 4.0/10
I thought I didn’t like these Christmas movies because they’re cliche. Turns out, I just didn’t like them because they’re all straight. Under the Christmas Tree gives me and other queer women a sweet, cliche romance that allows us to fantasize or imagine ourselves in. 6.6/10
Two has good directing, acting, and a solid first hour. However, the rushed final act keeps the film from being something I can call overall good. 5.6/10
This is one of the purest examples of a thrilling movie I’ve seen in the WLW genre. The Novice is edge of your seat, heart racing viewing. 8.6/10