drama
For all its faults, Knives Out is a brisk and often engaging film that will provide audiences a moderately enjoyable ride.
Not as impactful or satisfying as its daring predecessor, The End of the F***ing World is not the end of the world, but it’s not a crucial send-off either.
Earthquake Bird is likely to be but a blip in the filmography of both its stars and director.
In a compassionate ending, the season wraps up with a happy ending for all, a rarity for American Horror Story.
Between bad dialogue, acting that feels as undeveloped as the characters, and an unfocused story, it’s no wonder Midway feels like a drag.
His Dark Materials is an adventure story at its core, and we’re finally starting to get into the adventuring.
An Elephant Sitting Still exudes so much elegance, frame precision and ingenuity that it is destined to have a place in cinema.
Lorna Codrai looks at why 2006 was the most pivotal year of DiCaprio’s career, a year change him from a Prince to King of the World
In his latest report from the 2019 Milwaukee Film Fest, Shawn Glinis reviews the films The Body Remembers, Genesis and the Marion Stokes Project.
A transformative adaptation, American Son may not be a groundbreaking piece of filmmaking, but that’s not what it was meant to be either.
With the talent both behind the camera and in front of it, one would expect more thank a glorified Hallmark film from Last Christmas.
Regarding Billy is the kind of movie you watch if you enjoy formulaic holiday films, but you’d like your Hallmark cheese with a dash of gay.
Ed Perkins’ documentary Tell Me Who I Am is an experience that’s both remarkable and powerful.
Watchmen has hit a little under the halfway point, the pins are being set up and knocked down at the bat of an eye, and it just keeps getting more and more clever every week.
Like the novel that came before it, Watchmen elaborates on its characters’ futures vs their pasts in ways only the author can imagine.