comedy
I Am Not Okay with This is a great show that feels both familiar and refreshing, twisting the formula of superhero origin and coming-of-age stories.
William Hopson explores how Alan Silvestri’s score proves to be manipulative in the best possible way in Forrest Gump.
What should have been a sun-soaked blockbuster, Fantasy Island leaves us feeling shamelessly entertained and frustratingly ripped-off.
In his first report from Fantastic Film Festival Australia 2020, Matthew Singleton reviews Saint Maud and A Serial Killer’s Guide to Life!
It’s Onward and downwards for Pixar, as their Dungeons and Dragons inspired latest is one of their most disposable efforts to date.
High Fidelity gives a whole lot of new meaning to Hornby’s novel while also honoring it at the same time.
In She’s in Portland, the elements feel superficial, with the core relationship feeling especially hackneyed.
Downhill skews and scraps the richness of its predecessor and replaces it with dragging drama and cringy comedy.
In spite of some of its trip-ups, it’s hard to find something so genuine in its portrayal of the prevalent anger and worry of these times.
Pivoting from steely resolve to emotional profundity, the brilliant evolution in its final moments cements The Whistlers as an unconventionally thoughtful experience.
In its second episode, Zoey’s Extraordinary Playlist shows no signs of slowing down and continues to not only entertain, but firmly pull at the heartstrings as well.
Come to Daddy oozes Timpson’s remarkable devotion to the emotional, surreal and vicious with grotesque gusto.
Unfortunately, Billy Crystal and Ben Schwartz aren’t enough to elevate Standing Up, Falling Down to success.
Kristy Strouse was able to catch a couple Slamdance 2020 films, Big Fur and Tahara, and both were wildly different, but equally compelling.
Lara Jean Covey is back and more relationship trouble is ahead for her, but the sequel feels like a missed opportunity. Maria Lattila reviews.