386 Best Movies Written By Female writer (Page 23)

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Right off the bat, Bad Things looks gorgeous. Shot in 16mm, it plays with dreamy pastels and 1970s aesthetics, all while having its all-queer cast roam around the hotel’s haunted halls in mesmerizing ways. The setup is straightforward, but not too obvious: Ruthie’s problems with her girlfriend and her mother are exacerbated by the hotel’s strange and haunted aura. At this point, Bad Things hints at being an arthouse, slasher, and psychological thriller all at once, fueling anticipation for what’s to come. But as it moves along, nothing noteworthy happens. The awkward chase scenes and the overdramatic reveals kill whatever momentum the film has built, but the real problem is that it tries to juggle too many things at once. It’s creepy, but never achieves true-fright status. It’s bloody, but never fully commits to the gore. It’s smart and weird, but never goes beyond answering the very questions it poses. It’s happy to leave a lot of things unanswered, which in turn leaves us all confused, much less satisfied with what we’ve just sat through. 

Genre: Drama, Horror, Thriller

Actor: Annabelle Dexter-Jones, Gayle Rankin, Hari Nef, Jared Abrahamson, Molly Ringwald, Patrick Klein

Director: Stewart Thorndike

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Painfully intimate and told with very, very little dialogue, All Dirt Roads Taste of Salt resembles the experience of flipping through a photo book and pausing to admire every page. Which is to say that this is a film that requires not only one's complete attention but—like many other arthouse dramas—a willingness to sit with the mundane until it reveals something more profound. The nearly silent nature of its storytelling can be a little awkward, given how lifelike the rest of the movie is, but one should hopefully get used to the idea that this is an attempt to represent something closer to memory than reality. Whether or not the experience sticks or strikes an emotional chord, it's all beautifully put together, with lush cinematography, impeccably detailed sound design, and thoughtful sequencing of one image after another.

Genre: Drama

Actor: Charleen McClure, Chris Chalk, Kaylee Nicole Johnson, Moses Ingram, Reginald Helms Jr., Sheila Atim, Zainab Jah

Director: Raven Jackson

Rating: PG

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Directed by Indonesian filmmaker Mouly Surya (Marlina the Murderer in Four Acts), Trigger Warning is a technically impressive film that boasts beautiful cinematography and a handful of skillfully choreographed action sequences. Unfortunately, it’s let down by a mediocre and occasionally inconsistent script, as well as a less-than-stellar lead performance by Jessica Alba. Alba’s stunt double does well enough, but the actress herself is too lightweight to hold her own scenes. The CGI-ridden cold open doesn’t do it any favors too, sadly setting the tone of this promising but ultimately disappointing film.

Genre: Action, Thriller

Actor: Aaron Matthews, Alejandro De Hoyos, Anthony Michael Hall, Ben Smith-Petersen, Ben Vazquez, Crystal Mayes, Daniel Norris, David DeLao, David Loving, Efka Kvaraciejus, Gabriel Basso, Gianna Gallegos, Hari Dhillon, Jake Weary, James Cady, Jerry G. Angelo, Jessica Alba, Josh Horton, Juanita Trad, Kaiwi Lyman, Kieran Gallagher, Kyle Potter, Luis Valladares, Mark Webber, Matthew Blood-Smyth, Monica Sanchez, Nadiv Molcho, Ross Kohnstam, Stephanie Jones, Tait Fletcher, Tone Bell, Yvette Fazio-Delaney

Director: Mouly Surya

Rating: R

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Transporting the Henry James novella to the nightclub, The Beast in the Jungle turns the Edwardian era story into a surreal, escapist drama spanning the last decades of the 20th century. As John and May wait for that all-important event, they lose the importance of everything else, like love, friendship, and family, all to the decadence they only acknowledge as patience. This concept paired with the visuals are interesting, especially since the film also makes the viewer wait with them, drawing out the existential frustration, the fear of a life not lived, and the self-absorption, but the film struggles with the historical events, haphazardly inserting tragedies like the AIDS epidemic for what seems to be no reason.

Genre: Drama

Actor: Anaïs Demoustier, Bachir Tlili, Béatrice Dalle, Mara Taquin, Martin Vischer, Tom Mercier

Director: Patric Chiha

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Despite the fact that this isn't the light fantasy romcom it seems to present itself as at the onset, Paging Mr. Darcy nevertheless becomes a breezy, likable little TV movie because it allows its main characters to be adult human beings. The story is still mostly fluff that ends far too abruptly, but for the most part, watching these two walk around and flirt from the very beginning makes for pleasant viewing. There isn't any pressure placed on these people to fabricate some sort of will-they-won't-they dynamic or to act accordingly to Jane Austen's work, and the result is a romance that feels so much simpler and so much more authentic than a Hallmark movie probably deserves.

Genre: Comedy, Romance, TV Movie

Actor: Benjamin Ayres, Carolyn Scott, David Pinard, David Rosser, Jinny Wong, Lillian Doucet-Roche, Mallory Jansen, Steven Vlahos, Will Kemp

Director: Peter Wellington

Rating: G

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Eye of the Storm may not directly address COVID-19, but the film clearly draws similarities to the latest pandemic with the 2003 outbreak of the SARS virus. Panic, confusion, and miscommunication over the latest news are shared experiences between the two. These experiences are seen between the interlocking stories of the people quarantined in the hospital, and it’s easy to feel the fear and frustration surrounding them all. The film presents the issues of the overwhelmed healthcare system quite well, but its last moments leave a lot unresolved. While the film figures out the virus’ origin in its universe, the film leaves the healthcare workers’ stories hanging. It understandably reflects the uncertainty present with COVID-19, but it makes the film’s ending feel unsatisfying.

Genre: Drama, Family

Actor: Angel Lee, Chen Chia-kuei, Chia-Kuei Chen, Chloe Xiang, Chun-Chih Huang, Hsieh Ying Shiuan, Jing-Hua Tseng, Lou Yi-an, Simon Hsueh, Tseng Jing-hua, Tzu-Chien Kuo, Wang Bo-chieh, Yung-Cheng Chang

Director: Chun-Yang Lin

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A Million Miles Away sticks so closely to the Hollywood biopic template that it threatens to be less about José Hernández as a person with his own complexities and more about the idea of him as a one-size-fits-all inspirational figure. This isn't to say the film isn't effective when it really counts; Hernández is worth admiring not necessarily because of his ultimate success, but because how much he failed and got back up again. Director Alejandra Márquez Abella keeps the film's tone light and bouncy, flattening some of its more serious moments, but also helping make Hernández's long, hard road to space more of a process of discovery. It's easy, inspiring viewing that quietly tiptoes past harder questions about poverty and NASA's potentially discriminatory practices.

Genre: Drama, History

Actor: Ashley Ciarra, Blake Webb, Bobby Soto, Constantino Caso, Dylan Hall, Emma Fassler, Eric Johnson, Francisco Barreiro, Garret Dillahunt, Gerardo Trejoluna, Isaac Arellanes, Isabel Aerenlund, Jordan Dean, Jorge Briseño, Julio Cedillo, Julio Cesar Cedillo, Marilyn Uribe, Mercedes Hernández, Michael Adler, Michael Peña, Michelle Krusiec, Peter Theis, Rosa Salazar, Sam Harrison, Sarayu Blue, Steve Kisicki, Veronica Falcón, Xochiquetzal Martínez

Director: Alejandra Márquez Abella

Rating: PG

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Built on promising ideas revolving around toxic relationships, exploitation of Black bodies, and a fading African heritage, Jagged Mind comes up with reasonably diverting genre thrills but stops short of taking advantage of the rich material it has at its fingertips. In getting caught up with its own premise, the film isn't able to craft a compelling enough journey for its protagonist to break free of the cycles she finds herself in. As a result, it becomes something that's fun to watch in the moment—thanks to some playful, misleading editing and a solid lead performance by Maisie Richardson-Sellers—but not something that leaves a lasting impression or makes a full, compelling statement.

Genre: Horror, Mystery, Thriller

Actor: Casey Ford Alexander, Jimmy Jean-Louis, Kate Szekely, Maisie Richardson-Sellers, Rosaline Elbay, Shannon Woodward, Shein Mompremier

Director: Kelley Kali

Rating: R

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The Dutch Netflix film Happy Ending means well, but its insistence on the heterosexual relationship limits the film’s potential. Centered on the concept of the orgasm gap, it’s understandable to see the main character Luna have difficulty in expressing this to her partner Mink, however, the film doesn’t fully explore their relationship, or even the reasons behind Luna’s hesitation. Because of this, it’s hard to root for their relationship, especially when the third of their threesome Eve proves to be able to rise to the challenge of Luna’s orgasm. Without spoiling too much, the end result feels as unsatisfying as the main relationship.

Genre: Comedy, Drama, Romance

Actor: Claire Bender, Gaite Jansen, Joy Delima, Martijn Lakemeier, Sidar Toksöz, Sinem Kavus

Director: Joosje Duk

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With every new Aardman production, their stop motion animation technique becomes more and more seamless, looking practically indistinguishable from the work being put out by other animation studios that use CG. However, Chicken Run: Dawn of the Nugget also threatens to flatten into the same kind of entertainment churned out by other studios at a faster rate. There isn't as much personality to either the story or the art direction—which gave the first Chicken Run film such a sense of urgency—and any ideas about how one's radical beliefs are tested with age never really get off the ground. And yet, what Aardman is able to do with actual tactile models will never not be impressive, these rebellious chickens standing as a tribute to handcrafted storytelling that will never be replaced.

Genre: Adventure, Animation, Comedy, Family

Actor: Alison Dowling, Amy McAllister, Bella Ramsey, Daniel Mays, David Bradley, David Brooks, Harry McEntire, Imelda Staunton, Jane Horrocks, Josie Sedgwick-Davies, Julia Sawalha, Kate Harbour, Lynn Ferguson, Miranda Richardson, Naomi McDonald, Nick Mohammed, Peter Serafinowicz, Ramanique Ahluwalia, Rebecca Gethings, Romesh Ranganathan, Sam Fell, Sam Wilkinson, Sarah Counsell, Shobu Kapoor, Sudha Bhuchar, Tamaryn Payne, Thandiwe Newton, Tim Bentinck, Tom Doggart, William Vanderpuye, Zachary Levi

Director: Sam Fell

Rating: PG

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This biopic of the little-known Chevalier de Saint-Georges, the world’s first prominent Black classical composer, opens with a fierce indictment of history’s ignorance of its subject. Even if it’s one example of the movie’s dramatic license-taking, the scene — in which the Chevalier (Kelvin Harrison Jr.) challenges his eminent contemporary Mozart to an onstage musical “duel” and easily bests him — is a dramatically thrilling statement of intent for the movie.

Unfortunately, the rest of its overlong runtime doesn’t quite fulfill the promise of that opener. That’s largely because of the writing, which leaves uber-talented performers like Harrison Jr. with only a limited range of notes to play. What’s more, Chevalier stops short of exploring some of the most fascinating facts of its multihyphenate subject’s life — like the role he played in the French Revolution, commanding the first all-Black regiment in Europe — in favor of hewing to a predictable screenwriting formula that demands a romantic element to the plot, even if the one in question is only thinly backed by actual evidence. Still, while some of Chevalier’s filmmaking choices seem to misjudge what makes its subject so interesting, the key facts of his life — his extraordinary skill at music and fencing, the role racism played in blocking his greatest ambitions — still get enough exposure here to make it an enlightening watch.

Genre: Drama, History, Music

Actor: Alec Newman, Alex Fitzalan, Ben Bradshaw, Henry Lloyd-Hughes, Jessica Boone, Jim High, Joseph Prowen, Kelvin Harrison Jr., Lucy Boynton, Marton Csokas, Minnie Driver, Ronkẹ Adékoluẹjo, Sam Barlien, Samara Weaving, Sian Clifford

Director: Stephen Williams

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The filmmakers behind this direct sequel to the Indigenous action thriller Sayen clearly learned from the mistakes of that first film: all the emotion that was missing then finds a new home here, as the titular protagonist finally gets to grieve what she's lost, in a way that's touchingly close to her cultural beliefs. Desert Road also ups the action considerably, this time borrowing liberally from desert-set films like Mad Max—the sun-drenched expanses of sand are somehow much more beautiful than the forests of the first movie. And Rallen Montenegro continues to refine this character's emotional depth.

Still, partially as a result of the fact that the first installment gave this sequel little to work with, Desert Road can't help but feel more ordinary and more distant from real-world struggles touched upon previously. The actual thrills in this thriller plot aren't particularly intriguing, as several subplots mash together without as much effect on the main plot as intended. At the end of the day, this still seems like it's been made with the action movie template in mind first, rather than having the story and characters lead the style of the storytelling.

Genre: Action, Thriller

Actor: Alejandro Silva, Alfredo Castro, Álvaro Espinoza, Camilo Arancibia, Carlos Briones, Claudio Riveros, Claudio Troncoso, Enrique Arce, Eyal Meyer, Felipe Contreras, Francisca Gavilán, Jorge López, Katalina Sanchez, Mario Bustos, Nicolás de Terán, Rallén Montenegro, Roberto García Ruiz, Teresa Ramos, Víctor Varela

Director: Alexander Witt

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A remake of the 2018 South Korean film of the same name, Keys to the Heart never really seems like it comes together as a thematic whole. In its bid to be a modest slice of life—as a story that just happens to feature boxing and classical music amid family conflict—its separate parts wind up feeling underdeveloped. So despite admirable work from its cast and big emotional moments that are treated with a surprising level of sensitivity, there's always a sense that the film is constantly trying to be a soap opera instead of simply being a messier, more organic thing.

Genre: Drama

Actor: Althea Pinzon, Apollo Abraham, Bart Guingona, Dolly de Leon, Elijah Canlas, Katya Santos, Lao Rodriguez, Michelle Dee, Rafael Francisco, Tirso Cruz III, Zanjoe Marudo

Director: Kerwin Go

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Taylor Tomlinson clearly has more of a writer's approach to stand-up than a performer's, for better or worse. On the one hand, every word in this special feels considered (even those that she has to come up with on the spot during audience interactions), with a cadence meant to draw you towards the writing itself. On the other hand, this means that her comedy can come off too mannered—more knowingly clever than spontaneously funny. It certainly helps that Tomlinson has the energy to commit to her jokes even if they aren't particularly interesting, though; she has a clear vision for how her routine should flow, and that's worth respecting.

Genre: Comedy

Actor: Taylor Tomlinson

Director: Kristian Mercado Figueroa

Rating: R

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