The Desire of Dilemma is an eye-opening and a vital informational showcase on female sexuality for everyone, today, yesterday and tomorrow.
Crip Camp is a beautiful, wonderfully entertaining and insightful history lesson on civil rights for the disabled in America.
Denmark isn’t really interested in trying to answer any questions it raises, instead it is content to muse on the journey of one man who just wants a better life for himself.
Showgirls, by any measure, epitomizes every tenet of arthouse cinema. Showgirls belongs on a shelf alongside Andrei Rublev, The Seventh Seal, and The Passion of Joan of Arc.
The concept of a documentary feature exploring Michael Leuni, such an eminent figure of Australian culture, was promising, but eventually disappoints.
The Boy Who Sold the World is a captivating documentary looking into the world behind the technology of apps, and the minds of the youth who are set on changing the world.
Corporate corruption is the subject of HBO’s newest documentary, McMillions, which offers a candid look into the rigging of a single marketing campaign.
Dark Waters is poignant, infuriating, and anxiety-inducing in the best possible way, and serves as a reminder of the importance of compassion and responsibility — now more than ever.
Episode 4 of Devs is a season high so far, bringing forth major plot points and leaving many of our characters in uncertain positions.
In The Vast of Night, a young switchboard operator Fay and charismatic radio DJ Everett discover a strange audio frequency that could change their small town and the future forever.
“Broken Pieces” is an episode that sends everyone on their way to where they’ll need to be in the upcoming two-part finale, but doesn’t do so with any tangible enthusiasm.
Overall “World’s Worst” was a less-than-average episode with subpar performances in the improv challenge and a poor choice for a winner.
Burden’s misfires are too numerous to hit on any sort of reality, making it a frothy and less than ambitious piece of entertainment.
Spenser Confidential feels generic, tonally confused, and most importantly, the product of a workmanlike filmmaker clearly out of his element.
Coded Bias makes its primary focus on a the bias of facial recognition and the abuse that technology poses both currently and in the future.