“A Midwinter’s Tale” was a solid episode, packed with holiday cheer, ill-willed entities, and potential demonic tragedies, making it one of the best in the series thus far.
Mary Queen of Scots has no shortage of talent in front of the camera to make it one of this year’s most overlooked but satisfactory films.
In The Kid Who Would Be King, a band of kids embark on an epic quest to thwart a medieval menace.
It’s been ten years since massive AMC hit Breaking Bad took to the screens and masterminded its way into television history, and it hasn’t begun to lose its luster yet.
There are successful films buried within Bird Box, but it refuses to build any identity as a film beyond its concept.
Mowgli: King of the Jungle doesn’t impart the sort of excitement you might hope from the newest entry, but it does have a resonance that many of its predecessors didn’t.
In Men In Black: International, the Men In Black tackle their biggest threat to date: a mole in the Men in Black organization.
To call it a complete misfire would be unfair, but The Harrowing promises such supernatural offerings only to deliver a bland, soft-focus thriller with none of the scares.
If the Fantastic Beasts films are going to recapture the magic of Harry Potter, they need to focus on where their true magic lies, and that might be with one man named Jacob Kowalski.
The Mule is a worthy callback to Clint Eastwood’s career, playing a 90-year-old drug mule that hopes to make up for his past shortcomings.
The Leisure Seeker isn’t a bad film, but its sluggish pace, inexplicable changes between the film and the book, and some corny dialogue keep it from being great.
Again, Supergirl has never shied away from staying topical and overtly political, and Season 4 is no different.
The Story of Roger Ailes may be straightforward and a bit lacking in stylistic direction, but it’s a rather necessary look at one man’s life to help understand today’s politics.
Welcome to Marwen is an unfortunately shallow endeavor, with trite dialogue and a saccahrine portrait of very serious issues.
As if to reject beauty’s notoriously food-phobic reputation once and for all, Dumplin’ is pure visual comfort food.