Gal Gadot is back as Wonder Woman, and one more solo hit should make her the unequivocal face of the DCEU.
We discuss the films Eternal Sunshine of the Spotless Mind and Arrival, in reference to how they deal with complicated ideas of fate and free will.
I See You is a well-crafted head-scratcher even if it doesn’t seem so at first.
Sadly, Playmobil The Movie merely serves as a reminder of how studios forcing a film around a product didn’t always make for the greatest of entertainment.
Bond has left active service. His peace is short-lived when his old friend Felix Leiter from the CIA turns up asking for help, leading Bond onto the trail of a mysterious villain armed with dangerous new technology.
Something keeps making an appearance in just about any science fiction that has anything to do with quantum physics: Schrödinger’s cat. Let’s take a look. Spoiler: it’s not a real cat.
Marriage Story is a promising film, but Baumbach’s strategies in drawing out his character arcs are uneven, insufficient, and disappointing.
Regardless of its exhilarating action sequences and strong performances, The Aeronauts is a good film but not necessarily a great one.
Director Gurinder Chadha’s work offers American viewers a valuable political lesson about the intersection of class struggle and racism.
The Soska Sisters film Rabid honors the basic premise of David Cronenberg’s original while meticulously crafting an identify of its own.
Blue has a lot of heart, and being based on true events, never sugarcoats the reality of suicide ideation but it doesn’t glorify it either.
The events portrayed in Bombshell may have captured the world’s attention, but this film delivers too soft a punch to make the same impact.
Armando Iannucci’s strange eye is turned to Dickens in The Personal History of David Copperfield.
Released in 1944, Vincente Minnelli’s charming, evergreen musical Meet Me In St. Louis once accompanied the country’s drudging attachment to World War II.