United States
Arrow has kicked off its final season with a mostly entertaining and emotionally engaging episode.
While initally an intense thriller, The Informer buckles with an insuffiently used cast and material to provide for good impression.
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.
Though executed gracefully, Bored in the U.S.A.’s characters lack the chemistry needed to have us stay invested in their journey.
Between Two Ferns: The Movie is a unique type of performance with unique humour crafts a unique type of film.
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.