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Whether you’re a fan of podcasts or adult animation, The Midnight Gospel offers a mind-bending experience to viewers that has not really been seen before.
Malik Vitthal’s Body Cam is a forbidding tale of revenge that comes at you with speciously righteous fury, and that fury lingers.
Through The Night is not just about a daycare, but about a broken system that forces parents to choose between their children and their livelihood.
Dangerous Lies isn’t a terrible film. If you set your expectations appropriately, it can actually be an entertaining movie.
Death of Nintendo doesn’t aspire to break any creative ceilings, but does perfectly fine within its own creative sandbox.
The Man with the Golden Arm’s outlawed aesthetic and spirit make it a tangible and lasting achievement.
Violence is key to the narrative of Grosse Pointe Blank, and it forces Martin Blank to contend with who he was and who he has become.
At 83 minutes long, Driveways is a mini marvel because it appears so slight yet bears manifold treasures.
Central Park, as a show, goes down like a Manhattan. Straight-up and smooth and quintessentially New York.
Unfocused to the core, Capone will leave viewers with more questions than answers.
Castle In The Ground is undeniably effective in its portrayal of the opioid crisis, but loses itself in its hopeless narrative. Maria Lattila reviews.
Throughout its limited run, The Eddy is a stylistic and emotional success. Any shots at true greatness, however, are hampered by some persistent narrative frailties.
We delve further into the HBO film Bad Education, discussing further its themes of greed and altruism in the media.
Blood and Money is so content to occupy the safe middle ground without ever doing anything of interest, that it feels like a heartless exercise.
As the 40th anniversary of The Shining nears, we have watched and ranked all of Stanley Kubrick’s theatrical releases.