Inspired by real events about Jean Seberg, who in the late 1960s was targeted by Hoover’s FBI because of her political and romantic involvement with civil rights activist Hakim Jamal.
Not as impactful or satisfying as its daring predecessor, The End of the F***ing World is not the end of the world, but it’s not a crucial send-off either.
Amanda Mazzillo reviews the latest from the Savannah Film Festival, including Knives Out, Honey Boy, and The Truth.
The Walking Dead acts as a return to the toxic, abhorrent roots of the zombie genre, and presents a world where racism doesn’t exist.
Earthquake Bird is likely to be but a blip in the filmography of both its stars and director.
Klaus captures the old fashioned wonder of Christmas within the old fashioned splendor of traditional animation.
In a compassionate ending, the season wraps up with a happy ending for all, a rarity for American Horror Story.
The Mandalorian isn’t the best thing on TV right now by a large margin, but as a Star Wars series, as a show for casual viewing there’s nothing wrong with it.
Between bad dialogue, acting that feels as undeveloped as the characters, and an unfocused story, it’s no wonder Midway feels like a drag.
While the tone, look and disturbing special effects will enthrall audiences in the beginning, Daniel Isn’t Real misses the mark in its third act.
His Dark Materials is an adventure story at its core, and we’re finally starting to get into the adventuring.
Stéphane joined the Anti-Crime Brigade of Montfermeil, in the 93. He soon discovers the tensions between the different groups of the district.
It was on a dreary night in March, 1910, that the Thomas Edison–produced Frankenstein played…
Wilson Kwong spoke with Executive Director Deanna Wong of the Toronto Reel Asian Film Festival, where Asian films from all around the world are showcased.
An Elephant Sitting Still exudes so much elegance, frame precision and ingenuity that it is destined to have a place in cinema.