Netflix
Daybreak is a show begging not to be analysed, instead designed to be consumed mindlessly in one sitting over the Halloween season.
Big Mouth Season 3 continues in the show’s tradition of blunt honesty with a dash of humor, while not being without flaws.
While it does contain so interesting moments to keep you attention, The King is not worthy starting in the first place.
Even in their shortcomings, Rattlesnake, Skyman and The VICE Guide’s to Bigfoot were all just off center enough to be entertaining.
Steven Soderbergh is back with The Laundromat, a splashy, star-studded look at the world of obscene wealth and financial wrong-doing.
Mirroring the problematic characters it depicts, Big Mouth is a bit of a disjointed mess, hilarious at times and problematic at others.
Living with Yourself is as much as about the actual character living with another version of himself as much as it is about our own acceptance of the lives we live.
While it isn’t a terribly exciting conclusion to a richly-textured saga, it’s the little moments along the way that make El Camino a heartfelt final chapter in a great character’s story.
Raising Dion enlivens the superhero genre by offering a fresh tone and concept, and it also has some subtle messages that resonate with personal growth and sociopolitical challenges still being faced today.
As a true crime miniseries, Unbelievable does well in telling the womens’ side of things, depicting their trauma, and how they are forced to relive the horrific events over and over.
Somewhere in the passable 90-minute In the Tall Grass is an hour long short that’s riveting, tense, and short enough to not overstay its welcome.
Between Two Ferns: The Movie is a unique type of performance with unique humour crafts a unique type of film.
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.
Ryan Murphy’s first Netflix venture is a vapid political satire almost entirely void of humour and heart.