821 Best Releases From the Genre Drama (Page 13)

Old tropes never die; they just fade away, and most not a minute too soon. Among the well-trod movie and T.V. plot devices that have been retired in the past decade is the "split personality," a favorite of mystery and horror, in which a character has a hidden "evil" side that commits nefarious deeds, usually without the "good" side's knowledge. Though its roots can be found in Robert Louis Stevenson's The Strange Case of Dr. Jekyll and Mr. Hyde, its popularity peaked from the 70s well into the 90s, thanks mainly to Florence Rheta Schreiber's Sybil, purportedly a true account of a woman's struggle with split personality disorder, later called multiple personality disorder and now referred to as dissociative identity disorder, or D.I.D. for short.   Continue Reading →

Rural Pennsylvania. No one moves, and the woods surround them. The trees shudder. A whip snaps around a branch. Cut to the forest below, a denim-clad hero emergesIIndiana Jones on his latest adventure. Continue Reading →

I am sitting in the waiting room at an Urgent Care in Maine, waiting to see someone about a mild allergic reaction to a bee sting. It is August 2003, and I am thirteen years old. While my mother and I wait, I look up at the muted television, and suddenly I can't breathe. The news broadcast is carrying a live feed of what I recognize as the Brooklyn Bridge, and to my horror, thousands of people are streaming across it, trying to get out of New York City. My first thought, before I stammer to my mother that she needs to ask for the remote, that she needs to turn up the volume, that she needs to call our family and see if they're safe, is: It's happening again. We manage to unmute the waiting room television and watch, frightened, as the news breaks of the massive blackout that has paralyzed the Northeast. No one knows the cause, and I convince myself: It is happening again. Continue Reading →

When Christoph Waltz is at his best playing a villain in films like Inglorious Basterds, he presents as gentle and almost naively sweet before revealing an endless capacity for cruelty. At his worst, as with his Blofeld, he presents as all menace and violence and ends up with the effectiveness of a kitten. The former is delightful to behold; the latter can crash an entire film. Unfortunately, The Consultant forces Waltz to be the menacing kitten. Continue Reading →

We’ve all been there. You turn on the radio and an incredible song is playing you’ve never heard before in your life. It’s a soaring rock anthem that chills you with goosebumps and makes you feel alive. Is this an Unforgettable Fire-era U2 song? Is this my new favorite band? The music ends, and the DJ jumps in with something like, “Praise be to God. That was Soul Eternal, with their hit single “Let the Spirit Thrive” only on your Christian Rock station 104.7!”  Continue Reading →

One of the biggest downsides of making such gorgeous, sprawling fantasy television epics is the agonizing wait between seasons. This is acutely felt at Amazon, in particular, as they seem to have cornered the fantasy television market. Fans are already gnashing for a new season of big-budget offerings like The Wheel of Time, and Lord of the Rings: The Rings of Power. Of course, no show has suffered more for the delays than Carnival Row Season 2. Season 1 aired in 2019, an interminable wait for any dedicated viewer.   Continue Reading →

Hello Tomorrow! is a lot like its lead character Jack Billings (Billy Crudup). It looks great, for one. For another, it keeps dancing in the hopes that you won’t catch on to exactly how hollow its charms are, even when the music stops. And, like Billings, you almost want Hello Tomorrow! to get away with it. Unfortunately, they’re both running confidence games that they can’t land. Continue Reading →

We love movies about con artists, because they’re always glamorous, with attractive, elegantly dressed people slickly seducing their marks. It’s far sexier and intriguing than the sad reality of con artistry, which mostly seems to involve catfishing lonely people on dating sites, or swindling them out of cash on behalf of a made-up charity. No one likes to think about how easy it is to be fooled by someone who’s simply a good liar, it makes more sense that these things happen as part of an elaborate scheme created by a network of seasoned professionals alternately working together and stabbing each other in the back. Apple TV+’s Sharper scratches that particular itch, and looks good doing it, but ultimately feels a bit hollow, and has twists that are far more transparent than they should be. Continue Reading →

Divinity disappoints while The Accidental Getaway Driver surprises in this selection of genre offerings from the fest. No amount of recasting could have possibly saved Eddie Alcazar's Divinity from its state of terminal confusion. That's a shame considering the number of the relatively famous names involved. They include, most mystifying of all, executive producer Steven Soderbergh.  A bewildering stew of sci-fi, social commentary, and general weirdness, the title refers to a drug developed by renowned scientist Sterling Perce (Scott Bakula) to prevent death. Ironically, he died before completing his work. Thankfully (?), his son Jaxxon (Stephen Dorff) solved the formula and sold it to the masses. It appears to do the job of forestalling death but with an unexpected side effect--the inability to reproduce.  Continue Reading →

A pair of films about family, A Little Prayer & L’Immensita, explore the ties that bind and tear apart. Angus MacLachlan’s A Little Prayer stars David Straithairn as Bill, the head of a family-owned sheet-metal business. He lives in a quiet Winston-Salem suburb with his wife, Venida (Celia Weston). His son/co-worker David (Will Pullen) and daughter-in-law Tammy (Jane Levy) also reside in the guest house on the property. The family is clearly close-knit. Bill even shares a particularly strong bond with his daughter-in-law. When Bill begins to suspect David is having an affair with the office secretary (Dascha Polanco), he is aghast, seemingly mostly on Tammy’s behalf. He does what he can to try to get David to break things off, but things turn out to be more complicated than initially believed. As Bill tries to make things right, he must come to terms with his relationship to both David and Tammy.  Continue Reading →

At Midnight goes by a formula that really should have worked. Set in some of the most gorgeous spots in Mexico, with two charmingly attractive leads and a premise worthy of a zany 1930s rom-com, At Midnight has everything going for it, but the pieces never quite fit. Writer-director Jonah Feingold’s script borrows from more ambitious romcoms like Jane the Virgin and Notting Hill, with limited success. Continue Reading →

In the climactic monologue of the original Magic Mike, Mike Lane (Channing Tatum) says, “I don’t want to be a forty-year-old stripper.” It’s an affecting scene that shows that Mike understands the dead-end nature of his current lifestyle and his desire to escape, and it makes the ending where he gives stripping up a satisfying one.  Continue Reading →

The first season of You was a chilling and remarkably trenchant look into the mind of a misogynist. It followed toxic Nice Guy-slash-psychopath Joe Goldberg (Penn Badgley) as he stalked the object of his affection through New York City’s elite literary circles. An almost Humbert Humbert-like figure, Joe used his narration to manipulate the audience and try to win them over. Even as he began killing people who stood in the way of his desires he kept up the seduction. Continue Reading →

Two tales of fathers and repression explore the importance of self-realization and the cost of parental absence. In trying to represent marginalized communities accurately, we often see portrayals that treat marginalization as a point of exceptional virtue. There's an implication that people who don’t live lives presented by dominant media as “normal” need overcompensation. This manifests itself as portrayals in an infallibly positive light. This tends to happen because there is still an inherent misunderstanding, especially in Hollywood, that being underprivileged or underrepresented is something to overcome through fictional media and not through things like policy, legislation, and freedom.  Andrew Durham’s Fairyland provides a refreshing contrast to this typical presentation. It showcases its foremost gay character as a free-spirited individual who values the ability to express his lifestyle AND a frequently inadequate, often neglectful, and ultimately regretful father.  Continue Reading →

A pair of films out of the festival chronicle friendships new and old with differing degrees of success. While last year’s Banshees of Inisherin examined the end of a long friendship, Anthony Chen’s Drift depicts the slow but hopeful beginning of a new one. Banshees focused on a connection built out of commonality--same island and neighbors, similar life circumstances and concerns. By contrast, Drift revolves around a duo who don’t fit with each other or their surroundings. One, Callie (Alia Shawkat), is an American tour guide defined by her warm and non-judgemental demeanor. The other, Jacqueline (Cynthia Erivo), a Liberian-British refugee, is more guarded and grounded down. Unfortunately, Chen’s awkwardly plotted aims at political statements too frequently get in the way of what seems to be a wonderfully compassionate burgeoning connection between these two women. Chen is a bit out of his depth here unlike with his wonderful debut Ilo Ilo. Despite that film deftly exploring similar themes like class, immigration, and a friendship between two disparate parties, Drift never succeeds in the same way.  Continue Reading →

Creating an engaging plot-driven primetime soap is a delicate process, despite how big and loud such shows tend to be. Burn through too many storylines too early, and you end up with, well, a Ryan Murphy series. On the other hand, take too much time to toss out the red meat, and the audience drifts, tired of potential with no execution. Continue Reading →

American remakes of British television shows haven’t earned the best reputation despite a few gems over the years. The newest series to make it successfully across the pond, FOX’s new crime drama, Accused, does so with a premise you just can’t mess up.   Continue Reading →

The military drama Heroic overcomes cliché to capture structural horror. A significant string of recently released movies centralize crises of faith. The lead suffers abuse, boiling until they burst. Perhaps it’s a sign of the times, a subconscious metaphor for how authoritarianism and the crushing realities of oppressive institutional forces are increasing the temperature and pressure of the citizenry that will inevitably lead to a rupture. In 2022 there was God’s Country, The Beasts, and Women Talking. Now at Sundance, we have Heroic, a Mexican drama unfolding inside a military school. Director David Zonana’s film may resemble several movies that use this same arc. However, it distinguishes itself with careful direction and surreal depictions of how the mind processes abuse and vengeance.   Zonana films hazing rituals and routine drills with an eye for visual geometry that distinguishes power levels. Young recruits, referred to as “potros” (colts), always move on the sides of the frame or undistinguished as square or triangular squadrons when conducting gun rituals. Officers remain centered, maintaining authority with both direct physical presence and as a distant watchful eye.  Continue Reading →

“Emotionally manipulative” is a criticism of television and film I’ve always struggled with evaluating. If it is doing its job, any show or movie should emotionally manipulate you, at least a bit. It’s why you can go into a dark cineplex feeling a bit in the grip of the blahs and emerge high on the story of Nic Cage and his best swine friend. So know, when I declare Dear Edward “emotionally manipulative as hell,” that’s not necessarily a bad thing. Continue Reading →

The first films we saw in this year's festival deal with the anxieties of parenthood and personhood. (This dispatch is part of our coverage of the 2023 Sundance Film Festival.) Film festivals, Sundance in particular, are often the domain of the solid three-star movie -- unremarkable but workable indies and debuts that prove the arrival (or resurgence) of a major talent, albeit without the polish that would make the work they're bringing you feel complete. And that was certainly the case for my first day at (virtual) Sundance, with a quartet of titles covering similar thematic ground and running out of steam long before the end credits roll. Put together, this crop of films collectively explored the loneliness and isolation of the human experience, not to mention the specific vagaries of (cis)womanhood, especially where children are concerned. And they were... okay, I guess? Continue Reading →

Alice, Darling may tout itself a psychological thriller in its marketing, but that leads audiences astray. This isn’t Repulsion or Mulholland Drive. Instead, it’s a startlingly accurate portrayal of domestic abuse. Continue Reading →