There’s a sense of shallowness to Ferdinand, a film so generic and formulaic that it’s hard not to be cynical about its construction.
Why are many critics giving the problematic Three Billboards a pass? Shawn offers his take and advocates for a focus on critical diversity.
From 2008, French film A Christmas Tale offers a different type of holiday film – one that is melancholy, depressing, and yet also intriguing.
Future ’38 is a memorable adventure which perfectly reflects our time, as well as reminisces about the films and sensibilities of the past.
A boy and a horse go on a contemplative trip through America’s backwater in Lean on Pete; festival showings have earned critical praise.
Ivy Lofberg reports on five compelling and must-see documentaries from the DOC NYC Documentary Festival that you can watch right now.
The Santa Clause isn’t the festive classic you remember – it’s a soulless comedy that doesn’t even understand the meaning of Christmas.
Félicité contains some of the most powerful moments of any movie this year, yet never quite amounts to the sum of its impressive parts.
Jurassic World: Fallen Kingdom is bringing back the dinosaurs, and that’s all we really care about, right?
Masaaki Yuasa is known for his dynamic anime, which take inspiration from surreal 1960s-70s animation and Golden Age Disney films.
Heavily reminiscent of Michael Haneke’s Funny Games, Chameleon boasts three great performances – but still leaves a sour aftertaste.
The Disaster Artist is a painstakingly recreated and, above all, entertaining film about the making of Tommy Wiseau’s cult classic The Room.
Manifesto, based on an art exhibit, contains an incredible multi-role performance by Cate Blanchett, but it doesn’t add up to a coherent film.
Many films which emerged in 2017 were affected and received based on the cultural sentiment; here are a few examples.
The Killing of a Sacred Deer is an exploration of revenge and retribution, with one of the most brutal endings you will ever lay eyes on.