In The Gentlemen, a British drug lord tries to sell off his highly profitable empire to a dynasty of Oklahoma billionaires.
For the first time in 64 years, the late, great James Dean is reportedly starring in a new movie.
There is not anything inherently wrong about Playing with Fire, you won’t be happy with the time you’ve spent in the theater.
Michael Frank spoke with writer and director Adam Egypt Mortimer about the mental health, childhood and inspiration for his film Daniel Isn’t Real.
There are shades of the director’s previous work, but The Irishman is like an amalgamation after decades behind the lens.
Oscar-winning producer Eva Orner crafts a portrait of manipulation that’s both engrossing and gross, a narrative more pertinent than ever in the era of the #MeToo and Time’s Up movements.
Boyhood is an impactful film, teaching us the strong life lesson of the importance of living in the moment.
Queerly Ever After is a bi-monthly column where I take a look at LGBT+ films…
1917 is a vision of uninterrupted chaos, equipped with a unique blend of personal pathos and visual bravado.
There are plenty of reasons to recommend Wang Xiaoshuai’s So Long, My Son, but the greatness is infuriatingly just out of grasp.
In The Rhythm Section, a woman seeks revenge against those who orchestrated a plane crash that killed her family.
This episode of His Dark Materials expands the show’s reach and vision just beyond one character, so that we can speculate on things to come.
Shawn Glinis covers some of the latest home video releases and 4K re-releases: Decoder (1984), Mr. Nice Guy (1997), Red Heat (1988) and 47 Meters Down: Uncaged (2019).
Anya does its best to provoke you into forming an opinion about the importance of conserving insular cultures through complex, nuanced filmmaking.
Thanks to its talented and charismatic leads, The Kaminsky Method overcomes any lack of forward narrative momentum.