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The Mandalorian delivered audiences and filmmakers a visual effects breakthrough. And because of it, visual effects are likely changing forever.
Wilson Kwong had the chance to speak with director Bao Tran about his latest film The Paper Tigers and his unique journey as an independent filmmaker.
Far from the dumpster fire many feared, The New Mutants is a much more mundane disappointment: a near miss.
Despite its visual innovations and blockbuster decadence, Tenet finds itself submerged beneath Christopher Nolan’s lofty ambitions.
As we struggle to come to terms with the sins of our country’s past and present, Cut Throat City helps us to better see the sickness within our society.
Train to Busan Presents: Peninsula does not reach the heights of its predecessor, but it’s still a satisfying summer diversion.
Half-baked and poorly executed, Project Power is a big-budget, overly ambitious feature that does nothing but let you down.
With Proxima, Winocour has left an indelible mark on cinematic space travel, by viewing it through a feminist lens and placing more emphasis on earth.
Black Water: Abyss starts strong in its horror, but too quickly, the film devolves into a story of drama with a background of splashing water.
A forgettable military and horror thriller, Tom Paton’s Black Ops has all of the best intentions but fails to hit most of them.
A notorious box office flop, revisiting Waterworld today reveals a sturdy but middling treasure, as astonishing as it is underwhelming.
Spy Intervention doesn’t give much in terms of laughs, but a few moments, give life to an otherwise dull film.
Greyhound passes by as a monotonous series of skirmishes that never feel that threatening, even when boats are exploding around them.
While The White Storm 2: Drug Lords is an entertaining piece of filmmaking, it just fails to engage in a way that its premise would have suggested.
The Old Guard delivera propulsive sets of action, plenty of over-the-top violence, and breathtaking vigorous energy from Charlize Theron.
