2020s
Amy Seimetz’s sophmore directorial effort is full of great performances, but never engages with the premise enough.
Made in Italy is a fine film to cozy up to, as long as you can overlook the awkwardness and lack of narrative development it presents at times to audiences.
Black Water: Abyss starts strong in its horror, but too quickly, the film devolves into a story of drama with a background of splashing water.
Blake I. Collier takes a deep dive into the ways films explore dementia and turn it into a source of horror with varied results.
If you’re looking for a light, breezy movie to tide you over for a couple hours, Summerland will hit the spot.
Stateless sadly ends up robbing itself of an opportunity to be a show that is truly remarkable and also important.
With well-observed writing and phenomenal performances, Saint Frances is a revelatory character study that is equally funny and radical.
We attend a roundtable with director Natalie Erika James, cast members Robyn Nevin, Emily Mortimer, and Bella Heathcote to dive deeper into Relic.
Part documentary, part staged, and full of heart, this love letter to the five boroughs of New York City is an enjoyable, chaotic watch.
We spoke with Sheila Vand about starring in Dave Franco’s directorial debut The Rental, actors turning directors, and lots more!
We spoke with director Zetna Fuentes about Netflix’s latest series Cursed, the retelling of a classic legend through the female perspective.
Colour Me Brown is a personal, self-reflective conversation on one’s race and the associated complications of being different.
Impetigore is a film of slowly unfolding horror, with every aspect designed to fill you with dread and sorrow.
Despite great moments of tension and a solid Joseph Gordon-Levitt performance, 7500 is a film of unfulfilled potential.
Based on Bong Joon-Ho’s masterful film, the TV adaptation of Snowpiercer starts slow but builds to a fascinating finale.