comedy
We delve into two recent biopics about Emily Dickinson, A Quiet Passion and Wild Nights With Emily, examining which seems to show more truth about the legendary poet.
The Hustle is a female-driven remake that features two household names – it may look appealing, but don’t let it deceive you – it’s a con job in itself.
We were able to speak with Monique Sorgen, writer and director of the independent short film Sorry Not Sorry.
Diamantino is too insufferably quirky to offer any meaningful statement on the socio-political issues it references.
Where Toy Story found something deeply moving in a tale of toys, UglyDolls comes crashing down with all the moral engagement of a 1980s animated PSA.
About a Donkey embraces its identity, and allows its viewers to grasp this, but also infuses their own personal experiences within these character’s journeys.
Booksmart isn’t just a hilarious high school movie; it serves as a necessary reminder to rethink our initial judgments of people and actually try to get to know them instead.
Screening at this year’s Tribeca Film Festival as part of the U.S. Narrative Competition, Blow…
We were able to sit down with director Ant Timpson, and stars Elijah Wood and Stephen McHattie to discuss their new and wild film Come To Daddy.
We were able to talk to Matt Ratner, director of the comedy Standing Up, Falling Down, featuring the iconic Billy Crystal.
Even if Non-Fiction doesn’t end up being a revelatory film in Assayas’ catalogue, it’s never uncompelling.
Avengers: Endgame was three hours of time-altering fights, blood, promises made, promises kept, and death – all culminating in a spectacular end to a decade’s worth of beloved movies.
Despite the great performances by the three leads, Little suffers from a predictable plot and basic jokes.
There’s a refreshing nature in Wild Nights With Emily to how Madeleine Olnek gives Dickinson a certain dignity while embracing her truths that were buried in her work.
Top End Wedding is filled with all the romcom tropes and cliches you expect, but Wayne Blair’s film manages to sell this spin on the formula.