United States
In this delightfully strange suburban comedy by sketch veterans Jocelyn DeBoer and Dawn Luebbe, adults…
After the Wedding wants nothing more than to be a tearjerker, but the emotions run cold and the twists are all for show.
Bree Duwyn covers the second half of the first season of Carnival Row, in which the show’s writing increased in quality.
The Day Shall Come really comes close to approaching greatness, so it’s even more of a shame that it sputters as it reaches the home stretch.
if Abominable is any indication that Dreamworks is eager to reinvent their brand, bright things could be ahead for this powerhouse studio.
The remake of Jacob’s Ladder is a simplistic but overly convoluted horror with no thrills and spills.
Velocipaster would have worked better as a short film. As is, it pulls itself into too many directions with random plot lines.
Night Hunter’s stellar cast, skilled musical score composers, and a solid set of inspirations combine to little beyond an uninspiring drama at best.
Prarthana Mohan’s coming-of-age dramedy The MisEducation of Bindu arranges Grade-A talent, on-screen and behind-the-screen.
In this week’s Queerly Ever After, Amanda Jane Stern considers the 1997 film All Over Me, a coming-of-age story about the relationship between two girls.
Low Tide is a tactile, explosive study of masculinity, an exploration of what boys do, what makes them do it, and how they need to learn to stick up to each other.
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.
Cuck is a tone-deaf and brain dead character study where any and all insight is shredded and tossed out to make way for Z-grade exploitation.
Stay home and watch the original Rambo films instead. Rambo: Last Blood was not needed.
Temptingly measuring suspense and psychological anguish, A Dark Foe doesn’t always fulfill its thematic potential, but the effort ensnares you in its grip.