Annabelle Comes Home features great performances from its young cast, but the story is more a miss than a hit. Kevin Lee reviews.
Rambo: Last Blood is the latest and possibly last, of the Rambo-franchise. Matthias Van Der Roest looks at the new trailer.
With The Criterion Channel, no matter what size screen you watch these classics on, the pictures are never small.
Dark is still a time-traveling minefield, provoking characters to coast through time, evolve and alter their original impulses.
Though its most lasting power comes from characters on the fringes, Kid Icarus offers a rich and entertaining perspective on growing up aimless in the American West.
Summer Night is a perfectly sweet film about the hot, hazy nights we’ve all had and can look back to with adoration and nostalgia.
The Oscar-nominated Never Look Away shows signs of promise, but is let down by an epic scale that is never justified. Alistair Ryder reviews.
The Handmaid’s Tale “Household” is redolent with disturbing new discoveries, and plenty of reminders of how dark and dirty the government of Gilead can be.
In 21 Bridges, a disgraced detective in the NYPD (Chadwick Boseman) is given a shot at redemption.
The New Taiwanese Cinema of the ’80s and ’90sis defined by the likes of acclaimed directors like Hou Hsiao-hsien, Edward Yang, Tsai Ming-liang, and Ang Lee.
Kursk is an emotional drama based on real events. Thomas Vinterberg shines a light on the tragedy from within the sea and from the land.
In our second report from Edinburgh International Film Festival we cover Yesterday, Love Type D, Astrounaut and more!
The Dead Don’t Die was a huge disappointment with too many plotlines and characters for both the dead and undead to handle.
Despite a couple of fun, breezy jokes, For Love or Money’s the narrative is neither fresh nor funny enough to be a hit with the romantic comedy crowd.