Orange Is The New Black was never pitch perfect, but it hit enough high notes to make it count. Farewell, Ladies of Litchfield.
Bottom of the 9th may be plagued with a slow moving plot, it does have the characteristics of what makes a compelling sports drama.
Surviving Confession is very much a lively indie taking place in a lifelessly cramped setting, while bluntly speaking some commendable verities of being human.
The Current War admirably attempts to be something bigger than it ultimately is, with its A-list cast and interesting-but-misfiring style.
Skin manages a few gripping moments thanks to its cast but can’t string them together into something meaningful.
Even if Douglas doesn’t match its predecessor, the material is strong enough that it could still wind up being the second greatest stand-up film of all time.
Amanda Jane Stern had the opportunity to speak with co-writers Michael Waite and Roger Stigliano about their 1989 film Fun Down There.
Ladyworld manages to capture the perfect balance between the moments of tension and uneasiness with moments of teenage life.
Love, Antosha competently tells the utterly heartbreaking story of Anton Yelchin, the very intelligent and talented actor whose life was cut short.
Columbus, Tallahasse, Wichita, and Little Rock move to the American heartland as they face off against evolved zombies, fellow survivors, and the growing pains of the snarky makeshift family.
Ashley Joiner’s documentary Are You Proud is a gateway into the history of LGBTQ+ rights, rather than a comprehensive study, which is understandable due to the format.
This week’s Video Dispatches covers the new home video releases of Buster Keaton’s films, The Reptile (1966), Claire Denis’ High Life and 2018 film Transit.
Pavarotti is at times hard to watch, but ever so entertaining and explosive exploring one of the most captivating and astonishing artists of the 20th century.
Despite some design flaws, Astronaut sticks its landing enjoyably enough thanks to the command of Dreyfuss and a novel angle of attack.
While it’s set up with a poignant perspectives, Cubby fails to provide an introspective look into loss and growth.