Netflix
Film Inquiry recently spoke with production designer Mark Ricker about his experiences working on the Netflix film, Ma Rainey’s Black Bottom.
Kirsten Johnson’s film is a wonderful testament to both her aging father and the importance of treasuring the people we love most in life.
While far from perfect, Mosul is an effective look into a country ravaged by war and constantly searching for hope.
The Queen’s Gambit is stunning and exhilaratingly enjoyable, but it ultimately leaves me as a viewer just wanting more of it as a whole.
While Mank isn’t David Fincher’s best work, it certainly places quite high in his repertoire.
In context to its insufferably self-congratulatory source, Hillbilly Elegy might be the least-bad adaptation one could hope for, for whatever that’s worth.
Rebecca is not a bad or dull film, but it squanders the immense potential for something vital and thrilling in du Maurier’s tale.
The Guernsey Literary and Potato Peel Pie Society is a story about stories, why we share and retell them, and why we adapt them.
Because the two seasons are about two very different ideas of death, these horror elements had to be presented in starkly different fashions.
The Trial of the Chicago 7 has the potential to become a bona-fide crowdpleaser that will resonate with its target demographic.
Mike Flanagan’s The Haunting of Bly Manor once again sees him revisiting an old horror text as a roadmap to explore human emotions.
Anchored by Millie Bobby Brown’s delightful performance, Enola Holmes is a charming riff on the Sherlock Holmes lore.
Ratched returns Murphy to his deliciously horrific TV roots, bringing the origin of an iconic character to life for a new generation.
Brutal in its subtlety, Língua Franca is a harrowing portrait of not only Trump’s America but also Duterte’s Philippines.
While it may not land as smoothly as it hopes for, what #Alive offers here is still refreshing, warranting the attention of its audience.