2010s
Forgettable and quite boring, The Addams Family is perfectly passable as a children’s film, but not a genre classic.
Not all conversations are deep, some of them are about trivial everyday things. But in Grass, every conversation is an intricate miniature story.
An insufferable venture that completely misses the mark, despite the strong material, Vita & Virginia is nothing short of a disaster.
Color Out of Space heralds Richard Stanley’s return, a man given short shrift and who has a great eye for throwback horror and truly creepy cinema.
If you’re willing to take a chance and join Eggers, Pattinson, and Dafoe on their very weird journey, you’ll find it’s worth the trip.
Despite Nat Wolff’s outstanding performance, those interseted in The Kill Team are better off sticking with the documentary.
Although Helen Mirren’s performance as Catherine the Great is good, the miniseries itself was a chore to finish despite weighing in at only four hours.
The Dead Center is one of the more intriguing, effective indie thrillers as of recent memory.
Just as Mallo does in the film’s final moments, Almodóvar reaches into the past to find new ways to create, to evolve, and eventually, find glory from pain.
Coming in at just over 90 minutes with a solid pace throughout, Porno is very funny, very gross, and full of heart.
With the second half of the season left to still air, and the follow-up episode giving attention to the survivors, AHS 1984 seems primed for a sequel.
Jay and Silent Bob Reboot, is a heartfelt, thoughtful film that takes a clever jab at Hollywood’s dwindling originality, while maintaining its own level of originality.
Hitsville: The Making of Motown is a loving and lively reflection on Berry Gordy’s pop music factory, one of the greatest of the 20th century.
Though More Beautiful For Having Been Broken suffers due to its execution of these significant ideas, it has heart and potential behind it.
Stylish, savage and supremely funny, First Love is the shock of adrenaline the action genre needs and deserves.
