by Megan Robinson, Staff Writer
Bridget Jones: Mad About the Boy amps up the wish fulfillment while tackling the heavier subject matter of grief—both to its benefit and its detriment.
by Megan Robinson, Staff Writer
Each Bridget Jones film represents the cultural stages of modern life as we’ve experienced them. They are “time capsules” that make us smile as we remember who we used to be and what, or who, we used to love.
by Megan Robinson, Staff Writer
There is a coldness to the techniques and ideas despite the rough, on-the-ground style of the film; audiences have seen this all before, but, now, it has been blended into one neat product.
by Megan Robinson, Staff Writer
Every Little Thing gives the audience a kind glimpse into the small world of hummingbirds.
by Megan Robinson, Staff Writer
Catching Dust leaves too much for the mind to imagine, making what could be thoughtful and interior character studies into opaque misfires with much to be desired.
by Megan Robinson, Staff Writer
The Good Half, directed by Robert Schwartzman, certainly means well as a piece of art about loss, but the execution is completely dull, making it devoid of any emotion.
by Megan Robinson, Staff Writer
This year, the Tribeca Film Festival featured a myriad of music documentaries.
by Megan Robinson, Staff Writer
As the Tribeca Film Festival continues, highly anticipated films find comfort in discomfort, solace in anxiety, and healing from trauma.
by Megan Robinson, Staff Writer
At this year’s Tribeca Film Festival, the hustle and grind of daily life lies at the center.
by Megan Robison, Staff Writer
Tribeca is abound with features, shorts, documentaries, and plenty of events featuring the industries finest creatives.
by Megan Robinson, Staff Writer
Chicken for Linda! is about mess. The messes we make and clean up, the messy people we all are deep down, and the messy emotions we face every single day.
by Megan Robinson, Staff Writer
Arcadian tells and shows very little, in the end. Rather than reflecting this intentionally confusing apocalypse in the small family of father and sons, it feels instead insular and lacking in pathos.
by Megan Robinson, Staff Writer
Femme asks Jules and viewers alike how much they can take of the squirming, complicated mix of revenge and romance.
by Megan Robinson, Staff Writer
In director Kamila Andini’s Yuni, the film that shares its name with its main character, individuality is revered by the youth and destroyed by the adults around them, as girls are often directed to a singular path for themselves: marriage.
by Megan Robinson, Staff Writer
French Girl doesn’t do anything wrong because it can’t really claim to be doing much at all–neither funny nor romantic, neither progressive nor offensive, it just entertains in bits and pieces.
by Megan Robinson, Staff Writer
What hurts Bleeding Love the most is its writing. Though it has some funny scenes, it never escapes the shackles of a cookie cutter plot.
By Megan Robinson, Staff Writer
Which Brings Me to You is an honest look at modern love that provides the comfort that no one is perfect, but beauty can still be found all around, and even in each other.
by Megan Robinson, Staff Writer
Memory is all at once an honest and refreshing drama that mostly escapes the narrative pitfalls of a generic Hollywood tragedy.
by Megan Robinson, Staff Writer
Love Actually: sappiness with a healthy dose of cynicism that worms its way right into our hearts, all the laughter, looniness, and lovely together in harmony.
by Megan Robinson, Staff Writer
For a fan of Lennon, the music of the time, or the era of the early 1970s, The Lost Weekend: A Love Story is a fascinating documentary that illuminates a blip in the life of a young woman who was thrust into the industry, and subsequently the spotlight, practically overnight.