mystery
After last Sunday’s ending to American Gods, we were ready to get some answers on what happened to Shadow.
The Highwaymen is a well-intentioned Western drama that takes a new perspective on the Bonnie & Clyde mythology, but it needs another run at tightening the runtime.
After a 2 year hiatus, American Gods returns to form bring back element sof the show viewers fell in love with as well as giving room for others to shine.
This Australian horror has languished in obscurity for years, but a new restoration by Second Sight should make it the genre classic it deserves to be.
In Video Dispatches we cover recent home video releases. This week, My Name is Julia Ross (1945), So Dark the Night (1946), and Mikey And Nicky (1976).
Female Human Animal is a unique experiment into pushing the boundaries of what is considered to be fact or fiction.
Level 16 is an excellent short film trapped inside a pretty good full-length feature. Its shortcomings hurt its long-term impact.
Greta is an acquired taste that will frustrate some viewers while others will revel in its campy absurdities.
Happy Death Day 2U is like watching a million ideas hit the screen at the same time, progressively moving itself to shakier ground before losing any sense of narrative necessity.
Although the film ultimately posits that there is far more going on than meets the eye, Braid has more than outworn its welcome.
While a bit rough around the edges, Under the Silver Lake is one of those films that you’ll be lucky to experience even in light of its flaws, and stands as an astounding sophomore effort.
In our sixth report from the 2019 Sundance Film Festival, we cover Clemency, The Souvenir and Light From Light.
Lost Holiday illustrates our inescapable desire for the days when irresponsible behavior was met with laughter and a slap on the wrist, but what happens when that responsibility is willfully ignored.
I Am the Night is a thrill ride that not only tells Fauna Hodel’s incredible story, but also pays homage to the LA noirs of the past.
Despite its eclectic performances, The Vanishing is a snail-paced buildup to real action and suspense that doesn’t have enough substance to give the narrative some weight.