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Daredevil is still the stunner of Hell’s Kitchen, and of the Netflix Marvel world, with an adept season three that goes back to its roots, but also grows from them.
As Supergirl’s fourth season prepares for the reintroduction of Lex Luthor to a new generation, the series is as strong as it’s ever been.
Created by Mark Dennis and Ben Foster, Time Trap is a sci-fi/fantasy that starts with an interesting concept, yet turns into a jumbled mess of its own doing.
S. Craig Zahler’s loyal cult following will find much to love with Dragged Across Concrete, although first time viewers will find it a difficult watch.
Although Wunderland purports to be a sincere tribute to a real event, it never finds the time to say or suggest anything about war, courage, or death.
If you’re a fan or a newbie or just someone looking for a bloodbath of an action movie, move The Night Comes for Us to the very, very top of your list.
If you belong to nearly any demographic, Johnny English Strikes Again will serve as a colossal letdown, and leave you contemplating how Rowan Atkinson could enter such a slump.
Better Start Running feels like a cliched indie – fitted head to toe with an ever-present oddball ensemble cast – taking to the road for an adventure.
Black ’47 isn’t a perfect film – the shaky characterisation prevents the emotional undercurrents from truly picking up speed. Regardless, it’s a fantastically captivating historical epic.
Ride takes a simple premise and rides it to its logical conclusion, with enough charisma and style to remain interesting.
In our first report from Film Fest 919, Josh Martin recounts the nauseating absurdity of Dogman, memorably fascinating Destroyer and Cannes’ Palme d’Or Shoplifters.
Venom is a film with a myriad of problems, but they’re forgiven because of its affable undercutting of what you expect from superhero films.
The Predator is a brainless, tone deaf picture, that is quite easily the worst thing writer/director Shane Black has ever laid his hands on.
A hard pill to swallow, Assassination Nation is a blunt, antagonistic, but masterful film, guided by a director who can so easily weave in between political horror, social injustice, dark comedy, and teen comedy.
Unfortunately, 1992’s Sidekicks, which is a vehicle to show Chuck Norris as the greatest action star, is a sloppy project for his talents.