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.
We take a look at the sexualisation of the women in Mad Max: Fury Road and Thelma & Louise, two feminist films – not to vilify, but to offer insight into their subliminal messaging.
The Riverdale mid-season finale has arrived, leaving the future of Riverdale and its inhabitants terrifyingly uncertain.
Episode 10 brings Whittaker’s first Doctor Who season to a close, and after her first series of expeditions, it is clear that the writers have struggled to balance a female Doctor.
Kidman and Kusama work impeccably together in Destroyer to create an anti-heroine who can shoulder the weight of a familiar genre while rarely giving in to easy tropes.
In Where’d You Go, Bernadette, a 15-year-old’s mother goes missing, and she does everything she can to track her down, discovering her troubled past in the process.
In this beginner’s guide we look back at the career of director Joe Dante, focusing mostly on his iconic 1980s hits.
We take a retrospective look at Ingmar Bergman’s The Serpent’s Egg, which many view as a misfire from the director, but could be seen more favorably through another light.