How To Get Away With Murder delivers its strongest episode of the season to date, a powerful hour that tightens its focus and propels us forward.
Although Wunderland purports to be a sincere tribute to a real event, it never finds the time to say or suggest anything about war, courage, or death.
Once again, Riverdale weaves its magic, interlacing strands of its enticing mystery through each subplot, character and entity within the series, sharpening its focus on Archie and the Gang.
22 July begins as an urgent and devastating film, before suddenly turning into a never-ending slog, destined to leave viewers wondering where things went wrong.
After failing to get the film out of production hell for so many years, it’s no surprise The Man Who Killed Don Quixote feels world weary and cynical.
The Hate U Give is an important film; it understands the suffering poor communities go through, and how economic circumstances can enflame racial tensions.
American Horror Story’s “Traitor” was packed with old characters returning, answers and satisfying moments – yet there are still many questions that remain.
Bohemian Rhapsody provides casual fans with some raucous concert re-enactments, but those seeking insight into the band’s and particularly Mercury’s history should look elsewhere.
While the film possesses a level of craft and passion that cannot be ignored, Await Further Instructions is missing something vital: originality.
Ken Wiederhorn’s mostly forgotten 1977 film Shock Waves is an apt metaphor about the fear of a fascist planet.
Vox Lux is a weighty experience guaranteed to take a toll on viewers, both from its philosophical musings and its uncompromising look at 21st century violence.
If it’s undeniably riddled with imperfections, Apostle is still a worthy new venture from an abundantly talented filmmaker.
With the continuation of last week’s vibe, episode 7, “Down Like The Titanic” distributes another Shameless highlight of season 9.
Mario tackles the stigma of being a gay man in professional soccer with remarkable realism and heart, with what could have been excessively melodramatic or exploitative.
They Shall Not Grow Old is a major monument for our memory of the British soldiers who fought in WW1 and an enormous step forward in depicting history through cinema.