Netflix
With the talent involved and the potential of its revisionist take on Golden Age Hollywood, Netflix’s Hollywood provides minor thrills where it promised major dramatic power.
Circus of Books packs so much heart and warmth that only the coldest of souls would fail to be moved by it come the end credits.
What Lost Girls and The Frozen Ground share is the decision to depict a true crime involving one of the minorities most affected by serial killing: sex workers.
In Part Three of Terrace House Tokyo, there are twelve different people living in the house throughout the twelve episodes, and there is just too much content to focus on.
If you’ve ever been worried about your creaky joints, or whether your sex life will cease to exist after the menopause, Grace and Frankie will help to ease your mind.
In Ozark season 3, the direction, writing, performances and tense, foreboding atmosphere continue to be stellar and highly immersive while these characters continue to grow and evolve for the show’s betterment.
Trixie Mattel: Moving Parts is a raw, at times agonising portrait of the contemporary reality show celebrity. Rafaela Sales Ross reviews.
If in the end there will be no fourth season for On My Block, the ending of season three is still pretty much a perfect closure.
There’s a reason The Tiger King has been one of the most streamed content on the service recently: you’ve got to see it to believe it, and…maybe not even then.
Altered Carbon season 2 may not be exactly what season 1 seemed to promise, but in many ways, that’s a good thing.
Lost Girls is a grim picture that delivers a story that should be known, and for the performances alone, there is reason to check it out.
Chung takes heavy, economic, social, and intimate struggles of one middle-class family and trusts the audience to find something relatable and universal in their story.
All The Bright Places is a disservice to teen audiences who have longed for an honest depiction of serious issues like mental illness and suicide.
Crip Camp is a beautiful, wonderfully entertaining and insightful history lesson on civil rights for the disabled in America.
Spenser Confidential feels generic, tonally confused, and most importantly, the product of a workmanlike filmmaker clearly out of his element.