comedy
Between Two Ferns: The Movie is a unique type of performance with unique humour crafts a unique type of film.
In this delightfully strange suburban comedy by sketch veterans Jocelyn DeBoer and Dawn Luebbe, adults…
Ever since its Palme d’Or winning debut at Cannes, Parasite has been accumulating buzz like…
if Abominable is any indication that Dreamworks is eager to reinvent their brand, bright things could be ahead for this powerhouse studio.
A coming-of-age film which strives for irreverent authenticity, Our Ladies ends up clunky, a little cringey and uninspired.
Velocipaster would have worked better as a short film. As is, it pulls itself into too many directions with random plot lines.
Prarthana Mohan’s coming-of-age dramedy The MisEducation of Bindu arranges Grade-A talent, on-screen and behind-the-screen.
Harpoon never gets deep enough to attain full authenticity, but it’s still a fittingly tense and amusingly deranged romp, poking fun at how low these people are drowning into moral abyss.
On its ten-year anniversary, The Coen Brother’s A Serious Man should serve as a cautionary tale for our world today. Read to find out more.
Bong Joon-ho has put together an intricate, multi-layered portrait of inequality and class. At the same time, he keeps the experience fun and intoxicating.
Little Monsters is a horror comedy with no scares, and a comic potential that runs out of steam by the time the premise kicks in.
Dolemite is my Name manages to be a loving ode to Blaxploitation and Black independent filmmaking while still being one of the funniest films of the year so far.
Disenchantment Part 2 feels new, current, and understanding of what makes it wonderful – chapter 3 not only feels necessary, but desperately asked for.
While it’s true that film as a medium is intrinsically subjective, it seems pretty clear amongst viewers with knowledge of film that Parasite will go down as a classic.
Ryan Murphy’s first Netflix venture is a vapid political satire almost entirely void of humour and heart.