Another decent episode of How To Get Away With Murder, “Whose Blood Is That?” continues to build a solid fifth season but it’s yet to match the series’ highs we’ve seen before.
The mild and moderately amusing take precedence over any grander scheme in Monrovia, Indiana, lacking a moment of discovery in the mundanity and never evoking superiority.
On The Basis of Sex tells the story of Ruth Bader Ginsburg, her struggles for equal rights and what she had to overcome in order to become a U.S. Supreme Court Justice.
Followed, with its contrived shaky ghosts and shoddy script, is the millennial’s answer to The Shining and 1408, without the compelling stories.
Director Yorgos Lanthimos’ latest is his first truly empathetic character study, aided by three powerhouse performances from Colman, Weisz and Stone.
We spoke to directors Robert A. Clift and Hillary Demmon about their new documentary, Making Montgomery Clift,about the process behind the documentary and retelling Monty’s story.
In an age where horror options are plentiful this time of year, Hell Fest’s derivative thrills almost feel insultingly disappointing.
We were able to speak with Richard Harmon, star of the supernatural thriller I Still See You, about his interpretation of the story, advice for others coming into the industry, and more!
Little Women will cater to a specific demographic of viewers who are not picky when it comes to the movies they watch, passing off Lifetime and Hallmark movies as good times.
An overlooked film at the time of its release, Miracle Mile looks at the Cold War when it was waning, examining the destruction man is capable of when he thinks the end is near.
Jodie Whittaker makes her debut in the first episode of Doctor Who’s 11th season, and she is a force of nature, continuing the Doctor’s quest to protect the Earth from outside attackers and invasions.
We got the chance to speak to director Yann Gonzalez about his new film Knife + Heart after its US premiere at Fantastic Fest.
Monsters and Men is beautifully directed, but it lacks focus, as its choppy and undeveloped structure soon distracts from the matter at hand.
There has never been a film that so thoroughly captures the excitement and danger of space travel as First Man, capturing that intoxicating mix of euphoria and terror of the 1969 Apollo 11 Moon landing.
A zombie apocalypse threatens the sleepy town of Little Haven – at Christmas – forcing Anna and her friends to fight, slash and sing their way to survival.