You Don’t Nomi traces Paul Verhoeven’s Showgirls’ (1995) redemptive journey from notorious flop to cult classic, and maybe even masterpiece.
Mrs. America is an extraordinary limited series. It’s wicked, empowering, and, at times, frustrating. Just like a life of almost every woman I know.
Boris And The Bomb not only tries to be bigger than the sum of its parts but also seems to have a lot of heart put into it, yet it never reaches the heights envisioned by its creators.
The Tell Tale Heart is a punky, blood-spattered thrill ride from McClain Lindquist, whose debut short film brings something quite new to Poe’s story.
Bosch is an impressively crafted ensemble show with a wealth of excellent actors that make for an impressive consistency over its six-season run.
A stellar debut packed with poignant performances, the beautiful Babyteeth announces Shannon Murphy as a director who deserves our full attention.
In The Old Guard a covert team of immortal mercenaries are suddenly exposed and must now fight to keep their identity a secret just as an unexpected new member is discovered.
For this month’s Staff Inquiry the team talks about their favorite felines to grace the screen.
“Beautiful Monster” fails to carry the momentum that the last few episodes have established.
While a narrative focusing on young women exploring their sexuality without judgment would usually be greeted with enthusiasm, CRSHD treads well-worn stereotypes.
Hillary Shakespeare’s Soundtrack to Sixteen is a concise and delightful examination of teenage insecurities with great performances and strong writing.
At the end of the day, The Lovebirds feels like a bad first date. You go in full of hope and a mind for flirting and fun and leave without a meaningful connection.
Stephanie Archer covers eight documentary short films from Tribeca, compelling pieces that allow voices to be heard and provoke conversation.
We go through the career of Alex Garland, and how his films often follow a similar theme of focusing on dystopian worlds.
Carmentis never runs out of ways to use the subversive potential of the sci-fi genre to articulate the loneliness and disorientation that haunt the film’s main character.