Brahms returns in this pointless sequel to The Boy, which starts out with some promise but loses its plot halfway through.
Despite the constant need to recycle old challenges, the premiere of RuPaul’s Drag Race season twelve was a strong way to kick off the new season!
A “spiritual sequel” to the 1992 horror film Candyman that returns to the now-gentrified Chicago neighborhood where the legend began.
Harley Quinn is both entertaining, insightful and inspiring, and opens doors to great possibilities for DC Comics animation.
The London Human Rights Watch Film Festival will be presented from 12 to 20 March 2020, featuring empowering documentaries and dramas celebrating courageous people.
Stakes are suddenly higher than they’ve ever been, in Homeland’s latest outing: “Chalk One Up”.
The Wild Goose Lake’s glaring missteps aren’t enough to sink the film and its overall affect, which remains consistent and engaging throughout.
In our final review from Sundance 2020, Janet Lee reviews MinarI, a film that brings an honest story of family, love, selfishness, and humility.
What should have been a sun-soaked blockbuster, Fantasy Island leaves us feeling shamelessly entertained and frustratingly ripped-off.
Yalda, A Night For Forgivness is a solidly crafted a socially conscious film while making some truly bold cinematic choices.
In his first report from Fantastic Film Festival Australia 2020, Matthew Singleton reviews Saint Maud and A Serial Killer’s Guide to Life!
After Midnight shows much potential in its early-goings, which makes the lack of a satisfying follow-through all the more disappointing.
The Times of Bill Cunningham would serve better as an extras-feature on a Blu-Ray than as the stand-alone documentary it is.
Even with the brilliance of Faran Tahir’s believable portrayal of a broken villain, I Am Fear flaws weigh heavy, even in the final moments.
It’s Onward and downwards for Pixar, as their Dungeons and Dragons inspired latest is one of their most disposable efforts to date.