Far from depicting unconditional love, Coming Home For Christmas portrays extremely conditional love and support. There’s a line in the movie about how family should be the place where you can be the truest version of yourself. But everything that happens in this movie disproves that. 2.7/10
Tag: <span>2022</span>
Splendid Isolation is some sort of ambient apocalypse. I’m not entirely sure I’m on board with that as a mood. But I still respect this film’s uniqueness, intent and especially its incredibly strong visuals. 5.6/10
The movie manages to combine universal themes with specific, local details. Shame about that ending though. 6.0/10
Lasse Hallström is not stretching himself with Hilma. But even him phoning it in still amounts in a decent film. 6.4/10
The Origin of Evil is a pretty great example of the fucked up rich family melodrama. 7.4/10
Director Christopher Sandler drops you into his character’s head from moment one and keeps you there the whole time. And he makes this achievement of characterization look so damn easy. 7.6/10
Attachment has more positive elements than several other queer Shudder originals. But it’s still pretty fair to say that not much happens in this movie, at least horror-wise. 5.2/10
Because there’s so little representation, This Place felt the need to have their characters hold up and represent their entire cultures onscreen. And that’s simply too much to ask of an intimate, 87 minute film. 5.1/10
The Five Devils has a somewhat absurd premise that quality visuals and the always excellent Adèle Exarchopoulos really bolsters. These quality elements help sell this magical realist story about the bisexual agenda: adultery, acrobatics and arson. 7.2/10
We Will Never Belong is a huge success. Director Amelia Eloisa has constructed not just characters but a multi-sensory world. Her self-assured cinematography and focus on sensory experiences makes this film beautiful and emotional. 7.6/10