Despite the mediocrity in storytelling, with the rapport of the leads, it’s hard not to cheer for Always Be My Maybe.
Yes, it’s a dark crime drama – but The Gangster, The Cop, The Devil is more mainstream friendly than most South Korean thrillers.
The Last Black Man In San Francisco is a deeply moving film, and probably the best film with San Francisco as its backdrop.
While Aladdin is a fairly harmless film, it adds very little to the original and seems like just another cash grab from Disney.
Determined to keep Annabelle from wreaking more havoc, demonologists Ed and Lorraine Warren bring the possessed doll to the locked artifacts room in their home.
We delve into biopics, specifically how the mundaneness of the stories of these real people actually do them a disservice.
The Colour of Pomegranates is not only a window into the age of silent cinema, transplanted to 1969 but a window into a new way of thinking.
While director Xavier Dolan and the film’s characters say goodbye to their twenties, Matthias et Maxime itself leaves much to be desired.
At its heart, The Russian Five is a sports story, but you don’t have to be a hockey fan to appreciate its impact.
Dark Suns is utterly vital and haunting, chronicling a staggering history of crime and injustice that needs urgent attention from any higher-up with a conscience.
In The Goldfinch, a boy in New York is taken in by a wealthy Upper East Side family after his mother is killed in a bombing at the MoMA.
We look back at the history of Godzilla, starting in the 1954 Japanese film, and why the character has had a lasting impact all these years later.
Tater Tot & Patton doesn’t play by those rules. Instead, we are given an odd, slow burn with endearing performances and a lesson to be learned.
Deadwood: The Movie is a remarkable achievement, bringing us back to the town and characters we love and providing what we needed all this time: closure.