Being a big fan of horror, I’m always keeping track on the new films that…
The heart of Daddy’s Home 2 is lost by formulaic tendencies and its overbearing insistence on being funny. It’s no future Christmas classic.
Wonder may have all the trappings of passable family-friendly fare, but it is jumbled, unfocused, and far too unbelievably sappy.
The Mercy is the latest in a long line of esteemed British biopics, but this one leaves behind tidy interiors for the fury of the open sea.
Actors often become typecast in certain roles, but here are some performances where they took a chance to do something remarkable instead.
The Florida Project offers a unique and essential glimpse into contemporary poverty in America, encompassing both its wonders and hardships.
Musanna Ahmed spoke with Ramsey Denison, director of documentary WHAT HAPPENED IN VEGAS, about police corruption and filmmaking.
It may have been sat on the shelf for three years, but Angelica is worth the wait- a slow burning period piece that’s quietly powerful.
Nightcrawler’s Louis Bloom is worthy of our criticism, but it is also easy to overlook how flawed his colleagues (and viewers) truly are.
With his hundredth film, director Takashi Miike shows no signs of slowing down, with another fantastic, blood-soaked cinematic treat.
Three Billboards Outside Ebbing, Missouri is a funny yet brutal film, presenting complex quandaries of grief, violence, and rage.
Embrace the silliness or get out of the way of Rampage, because this monster movie isn’t claiming to be anything more than a good time.
In the latest of our Take Two series, we reexamine Batman & Robin, the sequel we watched so you don’t have to.
Film Stars Don’t Die in Liverpool is not a faultless affair, but the central love story and performances make up for its minor flaws.
Mudbound is a gorgeous and affecting film, regarding themes of racism and the after effects of war in 1950s Mississippi.
