The Freedom to Marry is a compelling, expertly-made documentary about the landmark case that finally provided everyone the right to marriage.
Kong: Skull Island is fleeting entertainment, but given its massive budget and the audience’s predisposition to Kong, that’s not a terribly impressive feat.
Opening in theaters this week are Beauty & The Beast, The Belko Experiment, Burn Your Maps & more! We compiled the trailers and info.
Westerns are the one genre I’ve never really gotten along with. I’ll watch a good one, and I have watched a number of classics, but it’s a genre that’s never particularly resonated with me. My father is a big fan of them, as are some good friends of mine, so this summer I made the decision to just try hard to find something I liked (other than Rio Bravo).
Activist and director Maria Giese reports on all she knows so far about the ongoing EEOC investigation into systemic discrimination against women in Hollywood.
Based on the real-life case, Johnny Frank Garrett’s Last Word is unfortunately a waste of its material, with many overused horror tropes.
Charlize Theron isn’t abandoning the action genre after the success of Mad Max: Fury Road, taking on a violent, self-sufficient woman with all her appendages intact in Atomic Blonde.
1976’s King Kong earned a bad rap over the years for its hokey special effects, yet here we explain just why it might be worth a revisit.
Trespass Against Us is a crime film that, though with talent both in front of and behind the screen, fails to develop beyond cliché territory.
Though with an unimaginative score, Akron effectively tells a story about two gay men who meet and fall in love in Midwestern America.
Cries from Syria comes from the perspective of those standing in opposition to Assad, and serves as a tribute to Syria’s children.
Collide is a film that has talent in front of the camera, but they’re wasted through strings of mindless action and laughably poor dialogue.
I Don’t Feel at Home in This World Anymore is a dark comedy that explores timely subjects of loss of protection and fear, in an effective way.
The right to die debate is treated with great dignity in Youth in Oregon, which is also buoyed by Frank Langella’s sensitive performance.
My Name is Emily tries to be intellectual and heartwarming at the same time, but finds itself biting off more than it can chew.