Movies Like Black Swan (2010) (Page 2)

Starring Matthew Broderick and a young Reese Witherspoon as, respectively, Jim McAllister, a high school teacher and Tracy Flick, a notorious ‘that girl’ in his class. When Tracy decides to run for class president, we see the floodgates open as all sorts of bizarre and insane behavior pours out of the two. Quickly, it becomes clear that Tracy will do nearly anything to win, and as circumstances spiral out of control, madness descends – along with hilarity!

Sunshine Cleaning is a great addition to that unidentified genre of grown-up comedies populated by other great entries like Your Sister’s Sister and Enough Said. It is however, less of a comedy than it is a heart-warming emotional tale. Powered by outstanding performances from Amy Adams and Emily Blunt, it ultimately evolves into a character study of failed potential and validation seeking. Sunshine Cleaning is enjoyable, satisfying to a fault, and provides an interesting peak into the lives of its characters.

Happy-Go-Lucky is a Mike Leigh feel-good movie tells the story of Poppy, a North London teacher, whose story we follow through a number of different situations: driving lessons, solving work issues, having fun with friends, all while trying not to lose her optimism. The acting is superb, Sally Hawkins is a gem as Poppy, and one cannot describe it, one simply has to see it and enjoy it, because it leaves you smiling 🙂

The best way to watch this movie is to be completely unprepared; it’s a super indie (sub 1 million dollar budget) Canadian thriller that completely wowed critics and audiences, even as it (and we’re being honest here) totally freaked them out. So, no spoilers, we can let you know it’s an internet thriller with shades of Little Red Riding Hood, hyperrealistic violence, and extremely surprising plot twists. Also, there’s less than 9 minutes of music in the entire film, which instead uses creepy ambient noises and breathing, so, yeah, it gets a bit tense.

Jane Campion’s biographical drama about the poet John Keats derives its name from one of the latter’s greatest love sonnets: Bright star, would I were stedfast as thou art… / Still, still to hear her tender-taken breath/ And so live ever—or else swoon to death.

Keats remains one of the most celebrated and adored Romantic poets. His writing challenged the poetic form, and revered the world for what it is at its best: wondrous, surprising, sublime. Ben Whishaw’s portrayal of Keats is rightfully distant, as we encounter the poet’s incredible aloofness through the perspective of interested suitor Fanny Brawne (Abbie Cornish). Brawne’s relationship with Keats was short but intense, providing great artistic inspiration and devastating devotion. Campion perfectly captures their fleeting relationship in this deft, crushing drama.

Jim Jarmusch’s latest film is the story of a pair of vampires, Adam and Eve (Tom Hiddleston and Tilda Swinton), married for thousand of years and living thousands of miles apart, subsequently reunited in modern-day Detroit to find Hiddleston in state of disrepair and depression. Their lives are shaken up by the sudden appearance of Swinton’s wayward young vampire sister Ava (Mia Wasikowska) that sets their lives into tumult. It’s the type of evenly-paced and wryly amusing dramedy that only Jarmusch could craft. I loved the atmosphere and sensibility of this film, not to mention the various literary allusions along with the dark, somber soundtrack. Less of a narrative and more of a modern-day-vampire-slice-of-life, this is one of those films that gets under skin and stays awhile (and not in a bad way).

A young girl is looking for her father while struggling to care for her family. The film is bleak and slow but great performances from the cast, especially the lead, will keep you engaged throughout. The story has a very real, raw, and natural feeling to it, so natural in fact that at times, you will forget it is a movie. And in many ways, it feels that Winter’s Bone is to Jennifer Lawrence what The Believer was to Ryan Gosling, as her performance is nothing short of perfect.

It’s impossible to describe this incredible movie as one thing or the other. It’s an epic three-hour saga that takes you through the Nazi era, the communist era, the rise of capitalism, and the East and West German divide. But more than its historic value, it’s a coming-of-age story, one that is based on the experiences of famed German artist Gerhard Richter. It’s also a romance, following his experiences finding love and being hit with loss (in no particular order). If you liked the director’s other work, the Oscar-winning The Lives of Others, you’re sure to love this too.

This is a touching saga based on the plight of the women labelled as “fallen” that the Magdalene Laundries housed in Ireland. The movie grips you by the throat right from the first minute and the sense of injustice to women that characterizes the entire length of the film only rarely eases up to give you room to appreciate the emotional complexities that each individual character represents.
The stories of Margaret, Bernadette and Rose and the people they meet inside the Magdalene Laundry will force you to ask time and again during the movie, “Why?” and “Who are they to?”. You will share in Bernadette’s sense of outrage, in Rose’s compassion and Margaret’s acute fear of the church, of speaking up and asking for justice. So much so, that you may even find yourself identifying with (or at least understanding) Crispina’s questionable grasp on reality. Worst of all, the devout Catholic establishment that this was, hypocrisy and corruption ran through its every vein, adding to the shock and resentment that builds towards the, for the lack of a better word, captors of our protagonists.
The Magdalene Sisters is a tribute to one of the forgotten chapters in a long history of injustice to women and an absolutely moving one at that. It does not fail to utterly horrify while it also warms your heart.

A residential dispute spirals out of control into full, xenophobia-fueled tragedy in this straightforward and elegantly made film that comes from a now-bygone era of mid-budget dramas for adults. House of Sand and Fog may come off as excessively bleak to viewers today, but it manages to capture a very particular mood of paranoia and distrust common in post-9/11 American cinema. And if nothing else, the film is worth watching for a trio of powerful performances that never resort to overacting: from Iranian actress Shohreh Aghdashloo, English screen legend Ben Kingsley, and an always compelling Jennifer Connelly, who was arguably at the peak of her career in the early 2000s.

A dark and sophisticated slow-burning drama, Never Let Me Go is adapted from the highly acclaimed novel of the same name by Japanese-born British author Kazuo Ishiguro. It stars Carey Mulligan, Keira Knightley, and Andrew Garfield as boarding school raised teenagers eager to explore the outside world when they learn a secret that will threaten their very existence. Anything more is a spoiler, watch it.

A devastating depiction of sexual addiction, featuring Michael Fassbender in one of the most remarkable acting displays of the entire year. His performance is nearly matched by Carey Mulligan as his wayward sister, whose intrusion into his lifestyle sets the central conflict of the story in motion. To sex what Requiem for a Dream was to drugs, this is NOT a film to be viewed in any sort of mixed company (note the NC-17 rating). Director and renowned British artist Steve McQueen continues his ascension toward filmmaking royalty, in follow-up to his extraordinary 2008 feature Hunger (also starring Fassbender).

Jia Zhangke (who NPR critic John Powers once called “perhaps the most important filmmaker working in the world today”), directed this movie based on the story of a gangster he knew while growing up.

And he is far from being the only noticeable talent here. Actress Tao Zhao shines as a character called Qiao, a dancer who infiltrates the crime scene in Northern China by way of her boyfriend (the gangster). When a boss leader is assassinated, Qiao finds herself in jail after she refuses to incriminate her boyfriend. 

This is a gangster movie but it’s also about how Qiao processes her time in jail and what she does once she gets out. It serves more as a character study and a picture of modern-day China.

Though it doesn’t delve too deeply into any pressing issues in baseball or into its protagonist’s Taiwanese roots, Late Life: The Chien-Ming Wang Story still makes for interesting viewing, mostly for its extremely specific discussions on baseball. Part sports documentary and part study on physical therapy, the film rejects any narratives about innate talent and greatness and aims to depict most great players as they really are: athletes who have had to train hard and maintain their progress through sheer force of will. And at the center is Chien-Ming Wang himself, a gentle and humble giant who makes for an unlikely but refreshing sports celebrity.

This documentary charts the challenges faced by sailor Tracy Edwards and her 12-woman crew in the wake of their decision to participate in the Whitbread Round the World Yacht Race, the grueling yachting competition that covers 33,000 miles and lasts nine months. Director Alex Holmes recreates their adventure using archival footage shot by the women themselves on their voyage, and interesting interviews with the crew members as well as the men who criticized and ridiculed them at the time. Maiden is an interesting bit of documentary filmmaking that is also inspirational and empowering.

Robert Ford is an aspiring gangster who idolizes Jesse James, leader of the notorious James gang. When that admiration reaches a level where it can transform to challenge and resentment, he starts considering the unthinkable. The cast is excellent- Brad Pitt, Casey Affleck, Sam Rockwell, Jeremy Renner, Sam Shepard, Paul Schneider, and Garret Dillahunt. Brad Pitt delivers an amazing performance which truly captures the presence that Jesse James brought to a room, one that seemed to overcome those around him. In addition the soundtrack is superb, one of the most memorable I have ever heard. This is a very unique, thrilling, and well-shot movie, it is easily one of the most underrated films of the past 10 years.

Another fantastic documentary from 2012, this one tells the remarkable story of the 1992 Lithuanian Olympic Men’s Basketball team that received scant attention in the shadow of the renowned U.S. “Dream Team” of NBA superstars (Michael Jordan, Magic Johnson, etc.). The Lithuanians’ story is all the more fascinating in that it comes immediately on the heels of their country’s freedom from Communist rule. With little hope of participating in the Barcelona games, they received the most unlikely last-minute assistance from the Grateful Dead, of all sources. A really great true-life story, told with an exuberance and a verve not often expected from non-fiction filmmaking. I challenge anyone watch this one and walk away uninspired.

A24 + Steve Buscemi = ?. 

In “Lean on Pete,” Buscemi plays a guy called Del Montgomery (of course), who is a racetrack horse owner in Portland, Oregon. He befriends a kid, Charley (Charlie Plummer in an amazing performance), who had been abandoned by his family and is new to Portland. 

Together they take care of Montgomery’s only horse, until the kid discovers that the horse is set to be slaughtered. He embarks on an impossible journey across the U.S. to try to save the horse while also looking for his family. 

This movie flew under most peoples’ radars. It is truly amazing. If you like “Lean on Pete” you should watch other A24 gems like “Lady Bird” or “The Florida Project.”

This is a gorgeous French-Canadian movie with out-of-this-world sound work.

Laurence is deeply in love with his girlfriend, Fred. On his birthday, he announces to her that he wants to restart his life as a woman, having always hated his male body. Fred doesn’t know how to take the news: “everything I love about you is everything you hate about yourself”.

Laurence Anyways is about how their romance continues after this revelation. There are so many reasons to watch this movie: the story, the acting, the cinematography; but trust me, the soundtrack alone is reason enough.

This is the type of movie I completely fell in love with but cannot articulate exactly why. Maybe it’s the mixture of beauty and pain portrayed, maybe it’s the intricate sounds and beautiful imagery, maybe it’s the story, maybe it’s all of the above. A woman is hit with sudden disability after an accident and calls on an unlikely companion, a night club bouncer by the name of Ali. Together they explore her new predicament and its implications, while forming a special bond. This is a movie that will call upon your internal strength, while portraying how us humans can become strong together. Most of all it provides an immensely powerful, ultimately simple story that is both touching and will stay with you for a very long time. Directed by Jacques Audiard (A Prophet).

Before her triumphant Oscar win for her role in Minari, Youn Yuh-jung starred in The Bacchus Lady as So-young, an aging sex worker strugglin to make ends meet. Youn brings a certain dignity to the role that’s rarely seen in typical depictions of sex work around the world. Her work isn’t framed as something disgusting or immoral, but as something that’s natural and normal. Writer-director E J-yong clearly sides with and respects the people that you don’t normally see in K-dramas—characters that have been pushed aside in favor of the stereotypical “ideal” Korean. While meandering at times, the film’s warm and bittersweet approach to these characters acts as a reprimand to Korean society on how they fail those at the margins.

Emily (Evanna Lynch), a strange, unique girl does not receive the long awaited letter from her father on her birthday. Sick of worrying, she decides to break away from home to visit him in the psychiatric institution where he stays. The plan requires the help of Arden (George Webster), a boy from school who is ready to drop everything and accompany her on a journey that quickly becomes as adventurous as it is heartfelt. In this film, director Simon Fitzmaurice take will take you on a trip through the beautiful Irish landscape to find nothing else but simple and true love.

Remember the name Rufus Norris. “Broken” is his directorial debut and he handles it like a seasoned pro. Also keep an eye out in the future for its young star, Eloise Laurence, who shows all the natural ability of a young Natalie Portman or Jodie Foster. Laurence plays “Skunk”, a twelve year old trying to make sense of life – and whose task isn’t made any easier by her own family’s internal struggles, or the other families living in the peaceful-looking cul-de-sac where much of the action takes place. We’re informed from the get-go that some sort of tragedy will befall the girl, but we don’t know what shape it will take, or what the outcome of it will be. The tension builds from there, with a little relief along the way, thanks to her often-amusing performance as she witnesses the confusing actions of her elders. Tim Roth and Cillian Murphy are also in good form, both of whom seem happy to complement Laurence’s presence rather than try to upstage her. “Broken” is equal parts cute, frightening, and brutally tense. It’s well worth checking out.

Ever wondered how much your life will change when faced with the reality that death is about to come? That’s normal, and not nearly as life-altering as being told you only have a few more moments to live. Because of a terminal illness, Uxbal (Javier Bardem) is driven to this situation and tries to right his wrongs in the wake of modern Barcelona. This melodrama is supercharged by Bardem’s unearthly performance as the story’s only hero, demonstrating the selfless love of a destroyed and dying father to his children – paired with cinematography unlike any other, this film is exceptionally beautiful. Directed by González Iñárritu’ (Babel, Birdman, The Revenant).

Mike Leigh’s films have always touched on class politics, but seldom as directly as in this lowkey portrait of Thatcher-era London. Cyril and Shirley are a sweet working-class couple at a crossroads in their relationship. Their lifestyle is contrasted with Cyril’s sister and her husband who exist in a more comfortable middle-class setting, and then paralleled again with an upper-class couple living next door from Cyril’s mother. 

Even at this early stage of his career Leigh gracefully entwines these stories to create a moving and coherent narrative. ‘High Hopes’ as a title might be largely sarcastic, but the film is full-hearted and occasionally even optimistic as it strides its snarky way through the grim facades of 80s London.

Alejandro González Iñárritu’s cleverly layered directorial feature film debut follows three persons whose lives are connected by a car crash in Mexico City. It directly involves two of them: a young man who enters the world of dogfighting to earn enough to elope with his sister-in-law, and a supermodel whose life is changed for the worse after she is fatally injured. The third segment of the film centers on a mysterious homeless man on the street who witnesses the crash.

The title, Amores Perros, refers to the characters’ love of dogs as well as love being a source of misery, and it’s a hint of the chaotic, unforeseen circumstances they each face. Iñárritu’s film shows his brilliance in direction. Despite the film being an early work, his ingenuity shines through and the compelling performances propel all three stories to gritty heights.

Cut-throat editing, handheld cinematography, and Guillermo Arriaga’s intricate screenplay flesh out each character. The viewers are pushed to the edge of their seats as we navigate the gripping miseries of life along with the rest of the cast. The tightly woven film is a painful must-watch, a brutal and uncompromising look at despair and animalistic aggression among humans that is also mirrored in the cruelty their dogs suffer.

Film direction—at least in the traditional sense—is all about establishing control. In Even the Rain, however, the crew led by director Sebastian faces a problem larger than what they can manage when they become embroiled in a local conflict over water supply while shooting a period film in Bolivia. The situation escalates into a violent uprising between the residents and the Bolivian state forces, which then endangers the completion of Sebastian’s film.

Even the Rain exposes the hypocrisy of urban filmmaking, questioning its exploitative and selfish tendencies. “Some things are more important than your film,” the actor Daniel bluntly tells Sebastian in one scene. This meta-commentary extends to the audience and encourages us to reevaluate the importance we put into films, especially with regards to the current socio-political context.

Set between the years 1977 and 2005, this Polish drama goes through various stages in the life of the controversial surrealist-expressionist painter Zdzisław Beksiński. The extensive video archive left behind by the artist was used to craft an intimate portrait of three interdependent people: Beksiński himself, his suicidal and neurotic son, and his wife.

Beksiński is superbly played by veteran actor Andrzej Seweryn, known for his appearance in numerous Andrzej Wajda films. Even though the film focuses less on Zdzisław’s painting career and more on his relationship with his family, it will definitely inspire you to dig deeper into both his tragic life and impressively dark body of work. 

What starts as an unsettling drama quickly morphs into a searing psychological thriller. The film, based on a play of the same title, tells the story of Tom, a young man who while attending his boyfriend’s funeral, stays with the grieving family unaware of his relationship with their son. During his stay, Tom becomes subject to the violent whims of his boyfriend’s brother. 

The intense psychosexual dynamic that develops becomes a piercing examination of homophobia, masculinity, and violence. Dolan’s expert direction keeps a level of intensity that grips and never let’s go until the gorgeous closing sequence. At times brutal and cruel, Tom at the Farm may be a tough watch, but its portrait of simmering regressive violence speaks vividly and directly to our current moment. 

The Fountain is a highly compelling science-fiction/fantasy film told in three interwoven parts related to the mythical concept of the Tree of Life. Hugh Jackman and Rachel Weisz star in a triad of roles that alternate along the film’s narrative: 1) an ancient conquistador assigned by the Queen of Spain to locate the legendary tree within the jungles of South American, 2) a modern medical doctor desperately striving to find a cure for his wife’s terminal brain cancer, and 3) a futuristic space traveler transporting the sacred tree across the cosmos with spectral images of his wife as his companion. In this, his 3rd feature feature-length film, writer/director Darren Aronofsky has crafted a strikingly ambitious depiction of the search for, manifestation of and preservation of the oft-fabled key to eternity. It’s highly philosophical and at times strikingly abstract visual storytelling, aided immeasurably by Jackman’s and Weisz’s heartfelt, aggrieved performances. The passion and the earnestness they deliver helps to buoy a complicated plot that isn’t always entirely cohesive, but comes together as a wonderfully compelling amalgamation of sights and sounds bound to inspire the viewer. Kudos to Aronofsky for eschewing simple fantasy in lieu of something so dynamic, original and emotionally commanding.

In Tina Mabry’s first full length feature film Mississippi Damned she tells the story of three poor, Black adolescents as they advance into adulthood. The story is mostly centered on Kari Peterson, portrayed by Tessa Thompson, who has fallen witness and victim to violence/abuse since her childhood. As she navigates her trauma while facing poverty and familial issues, we begin to understand the inner machinations of Kari and those who have harmed her.

While Mississippi Damned isn’t particularly easy to digest, I consider it essential. As unflinchingly brutal as this film is, it taught me a lot about trauma and how to navigate my own. With performances as powerful as these, it’s impossible to forget this film.

One of the most original time-travel thrillers since 12 Monkeys. A brilliant subversion of the Time Paradox trope, with enough plot twists to keep you entertained until well after the movie is finished. Predestination is an amazing movie with great performances from Ethan Hawke and Sarah Snook. It’s a movie that will feel like Inception, when it comes to messing with your mind and barely anyone has heard of it. It is highly underrated and unknown, sadly.

Tilda Swinton stars in this gorgeous Italian production by Luca Guadagnino, part of the director’s “Desire Trilogy”, together with Call Me By Your Name and A Bigger Splash.

Swinton learned to speak Italian and some Russian for the movie, where she plays – to absolute perfection – the wife of a Milan textile mogul who starts having an affair with a cook.

It’s an elegant family drama that’s definitely more concerned with aesthetics than substance, but the setting in snowy Northern Italy and lush 35mm film make that very easy to look past.

Take this Waltz is a movie that wants you to have a problem with it. It’s about a woman (Michelle Williams, Blue Valentine) torn between her husband (played by Seth Rogan) and a new man who entered her life. It’s an emotional and honest account as well as a mature slice-of-life film that you will appreciate either if you are familiar with a similar situation in real life, or if you give the film a chance, which I recommend you do.

Satoshi Kon’s Perfect Blue is a chilling psychological thriller and a fantastic next step for those looking to explore anime’s dark side. Kon animates with Hitchcockian flair and is so successful at memorable compositions that Darren Aronofsky even lifted a scene from this into Requiem for a Dream. 

Mima is a pop idol who abandons her singing career to become an actress. Shaken by a series of murders, and a stalker who knows her every move, she begins to lose her grip on reality. The rest is a riveting ride into Mima’s unraveling psyche in the vein of Mulholland Drive or Black Swan. This 1996 film not only anticipates the reality busting thrillers of the early aughts but also presages the way our identities are splintered across the internet.

Set in the 1930’s English Countryside, the story of the eccentric Mortmain family is told from the daughter Cassandra’s point of view. Her father, a once acclaimed and famous writer has written nothing in years, leading the family into bankruptcy. Themes such as first love and financial troubles are explored from Cassandra’s comic and intelligent point of view. A classic and a must-see.

In this raw, psychedelic drama, an American drug dealer living in Tokyo with his sister is killed at a night club. His spirit continues to float above the city and past, present, and future are woven together to complete the tale of his life. Taking a page from the Tibetan book of the dead, the film aims to explore one answer to life’s most epic question: What happens when we die? Definitely not for the faint of heart, there is drug use, gore, and challenging themes throughout the movie. Its unique cinematography also captures Tokyo quite well.

This is a low-scale, intimate, almost minimalist movie that speaks volumes about the misconceptions that westerners have regarding the Middle-East. And the performance of Richard Jenkins is absolutely exceptional (earned him a nomination for the Oscars). He plays a professor who comes back to his New York apartment only to find two immigrants living in it. What a great role and what a great film.The Visitor is from the director of The Station Agent and very recently Spotlight, Tom McCarthy.

Coherence is a film that captivates you to the point of questioning the reality that surrounds you. It’s a Quantum physics based sci-fi thriller that keeps your eyes sealed to the screen – not with unrealistically beautiful actors or special effects, but with an original screenplay and unexpected twists. Very refreshing.

Watching Carol is like reading a really interesting book while relaxing on a Sunday afternoon. It is one of those movies that you probably heard about during its Oscar run, and have since delayed actually viewing it. Well now that it is on Netflix and other streaming services you have no excuse! It’s refreshingly unique, incredibly charming, and features a kind of story that hasn’t been told very often – a love story between two women. Both characters played by Cate Blanchett and Rooney Mara attempt to live true to their own principles while facing unjust yet severe backlash from society. If you are open to it, the love story in this will stay with you forever.

There’s a novel idea at the center of World’s First Christmas, but the film’s unfortunately takes it through the least interesting route available. There’s a rich opportunity here to unpack what the holiday season really means to people, or to poke fun at how this occasion for togetherness and celebration has been co-opted by corporations trying to make a buck. But the film never gets there, running through a series of occasionally funny scenarios only to end up becoming an unconvincing advertisement for Christmas as a consumer holiday. The main gag here is that everyone has been left miserable by the absence of Christmas, which is an idea that falls apart immediately once you start asking even the simplest questions about it.

Monster is a biographical depiction of Aileen Wuornos (Charlize Theron), a prostitute and serial killer who murdered seven men in Florida between 1989 and 1990. The film follows the burgeoning relationship between Wuornos and young Selby Wall (Christina Ricci, in a role based on Wuornos’ real-life girlfriend Tyria Moore), as she grows increasingly desperate to provide for her young companion financially. Her desperation and her rage against men, brought on by years of both childhood and adult abuse, leads her down a dark path of murder and theft, even as she struggles to shield Selby from the horror of her crimes. The overwhelming highlight of the film is Theron’s mesmerizing performance as Wuornos—a role that won her a well-deserved Academy Award for Best Actress in 2004. She’s almost unrecognizable and altogether phenomenal as the volatile and increasingly unstable Wuornos, whose ferocity is interwoven with surprising affection for young Selby. This unexpected tenderness lends the film an air of tragic poignancy, and provides a bittersweet portrayal of a severely troubled woman. Very much intended for mature audiences only, Monster is a fascinating recreation of a disturbing yet compelling chapter in the annals of true crime in America.

Better known as a podcast host, Stavros Halkias proves that he does have the writing ability and (the lack of shame and/or pride) to come up with effective jokes from his own perspective. But his momentum just doesn’t hold throughout this hour-long special; he starts strong and keeps a coherent train of thought throughout the whole routine, but the latter sections begin to rely on gross-out comedy and potshots at the audience more than anything. Halkias knows who his audience is and he’s very fortunate to be able to perform in front of people who seem to be very familiar with his style. But for a wider range of people watching through streaming, his more relaxed style of storytelling may come off as him simply droning on without particularly great timing.

A slow-burning US political drama, The Ides of March is a character-driven film with great performances from Ryan Gosling, Philip Seymour Hoffman and George Clooney (who is also the director and in part the writer) among many others. Taking place during the last days of the primaries, Stephen Meyers (Gosling) is an aspiring campaign staffer who uncovers a dirty truth about his candidate (Clooney). When Meyers confronts his boss (Hoffman), moral issues arise that collide with the political profession but which are not only limited to it. A smart film, The Ides of March is less of a political thriller and more of a really well made drama that delivers.

Parenting is hard by itself, but it’s moreso hard when done alone, especially if there was supposed to be a partner alongside the journey. Thank You, I’m Sorry depicts this through Sara, who has to deal with her husband’s absence and difficulties in connecting with her husband’s family in his stead, on top of her pregnancy, but it’s her connection with her estranged sister Linda that can make or break her journey. The dynamic between the sisters is what drives the film. Sanna Sundqvist and Charlotta Björck manage to depict the strained yet clearly loving relationships naturally, and it’s lovely to see the mundane ways they reestablish their bond. It’s a unique story, though it does feel rushed and some of the humor can be totally off-putting.

Being based on the 1989 Patrick Swayze movie, we weren’t expecting much from the new Road House on Amazon Prime. Like the original, it has fun fight sequences, shot in a way that brings us to the bar itself, and it’s amusing to see actual MMA fighter Conor McGregor acting as an antagonist. However, this adaptation rewrites the main character to be a former UFC fighter, turning the story into something more akin to an outsider cowboy Western rather than a bouncer action drama. It’s not outright terrible, but it just feels uneven, and the cast performances can’t make up for the thinly written characters. It also just doesn’t feel like Road House.

You can tell that Blaze director Del Kathryn Barton is an award-winning visual artist first and foremost. The images that she puts together in this film are frequently stunning—making use of the camera in fascinating, freeing ways, and with lots of practical and computer-generated/animated effects that paint her young protagonist Blaze’s world in glitter and feathers and lush colors. The imaginary dragon, which acts as a shorthand to symbolize Blaze’s complex psychological response to her trauma, is a wonderfully tactile life-size puppet that lead actress Julia Savage responds to in an entirely convincing way.

But you can also tell that this is Barton’s debut feature. Ultimately her visuals don’t do enough to shake off or give meaning to the graphic scene of rape and murder that occurs at the beginning of the film. And the way she structures the movie threatens to make it feel like a series of music videos or video art pieces. Despite its originality and the level of commitment displayed by both Savage and Simon Baker, Blaze has difficulty communicating a coherent message about trauma—the film strung together by heavy-handed scenes that spell out various ideas and lead to the most obvious conclusions.

This documentary about the 2015 massacre at the Emanuel African Methodist Episcopal Church explores key questions around faith, justice, and forgiveness. It situates the massacre – which left nine African American churchgoers dead – within a bigger picture, with Emanuel being the first-ever freestanding black church in Charleston, a city in South Carolina with a highly charged racial history.

The film’s strengths lie in the stories of those who lost loved ones in the massacre, and the miraculous forgiveness some of the survivors offered the 21-year-old white supremacist responsible for the attack. Above all, it is a story about the power of faith.