John Lithgow
Jenny Pen is a cold-eyed excavation of one of the basest fears humanity possesses: That life, in all its triumphs, is a meaningless house of cards.
Conclave and We Live in Time are prime examples of solid filmmaking, that will likely be successful regardless of what accolades they end up garnering.
Cardinal Lawrence is tasked with leading one of the world’s most secretive and ancient events, selecting a new Pope, in Conclave.
Beatriz at Dinner is one of the earliest reactionary films of the Trump Era. The question remains whether or not it has any answers for the current climate.
Late Night is a funny and witty film, that boasts a stellar cast, brilliant performances and and even better writing.
The Tomorrow Man examines the relationship of two elderly people preparing for the end of days that despite its charm remains shallow.
The latest adaptation of Stephen King’s Pet Sematary has some interesting new ideas, but it never quite reaches liftoff.
Pet Sematary, in this critic’s opinion, is a constant battle between excessive production and exceptional performances.
In Late Night, starring Mindy Kaling and Emma Thompson, a late-night talk show host suspects that she may soon be losing her long-running show.
The heart of Daddy’s Home 2 is lost by formulaic tendencies and its overbearing insistence on being funny. It’s no future Christmas classic.
Premiering back in 1984, Buckaroo Banzai has long been a prized cult classic, though perhaps one that is lesser-known in the wider world.
It’s rare that a film will come along and synthesize the era we live in so succinctly as Miguel Arteta’s Beatriz At Dinner.