Episode 7 of The Spanish Princess ups the ante with more death, ambition and romance. Katy Kostakis reviews.
Three Peaks transforms the emotional labor of building a family, slowly building to a conclusion that feels both inevitable and horrifying.
Too Old To Die Young is an exhausting watch, we can only assume there will be a big reward at the end for us loyal viewers.
Years following the events of “The Shining,” an adult Dan Torrence meets a girl with similar powers as his and tries to protect her from a cult known as The True Knot.
With a multidimensional backcatalog, it’s difficult to pigeon-hole eccentric body horror director Stuart Gordon. We’ve given it our best shot
In his first installment examining Edgar Wright’s “Cornetto Trilogy”, Faisal looks back at the chaos and conformity within Shaun of the Dead.
Look past the frilly costumes and posh accents of The Bostonians, you’ll find a battle of the sexes that remains relevant into the 21 century.
Director Colin Watkinson serves up a dynamite episode of The Handmaid’s Tale with “Unknown Caller”, one that builds with stomach churning intensity and ends with a bang.
We spoke with Morocco Vaughn, a Chicagoan filmmaker whose directorial debut Mollywood has just been released to digital and on-demand.
Pitch Perfect will only be remembered as the series to have blackjacked its fanbase into thinking it’s queer-friendly.
The Refuge keeps patient viewers hooked and film lovers invested by maintaining a harsh and eye-catching atmosphere and storytelling angle.
In his first recap from the 2019 Sydney Film Festival, Alex Lines reviews Saturday Afternoon, Synonyms and Why Won’t You Just Die?
With musical biopics typically presented as Oscar bait or actors doing an impression for empty accolades, here are 10 music biopics that are actually great.
In Reality might not fully pass The Bechdel Test, but it’s a fun exploration of dating life and Ann Lupo’s filmmaking skills. Tuesday Blue reviews.
Pause examines the life of a woman trapped in an unhappy marriage, played with gusto by Stella Fyrogeni. Aaron Berry reviews.