Captain America: Brave New World is not the movie that will bring Marvel skeptics back to the franchise. Underneath, it’s still the same formula.
Here’s an ice-cold take: movies nowadays are too damn long. Obviously, this is all relative;…
Kicking off this year’s Slamdance coverage, we’re looking at two different styles of comedy in “Lockjaw” and “Portal to Hell.”
Sundance this year has Twinless, an audacious exercise in storytelling, and Train Dreams that is equally as compelling.
Love Hurts is still worth a watch, if only for Quan’s tour-de-force performance.
Armand is at its best when it serves as a showcase for its quartet of talented lead actors.
Heartstopper displayed- and with three seasons thus far, has continued to depict- a nuanced and vibrant portrait of life as an LGBTQ+ youth.
These practical steps forward are redefining what’s possible when creativity meets conservation in the filmmaking process.
A Knight’s War blends classic fantasy motifs and adding a dark, unique edge that’s visually gripping.
Rewatching Singin’ in the Rain, arguably the greatest Hollywood musical ever made, my wife and…
At its best River uses the broad ensemble comedy of Japan in ways that evoke the best ensemble pieces like Noises Off or Christopher Guest’s work.
In DC, where superheroes feel like gods among men, Gunn brings Superman back down to Earth with his superbly humanistic directing style.
From sharp satire to raw emotion and meta-commentary, these three films take wildly different approaches to storytelling in this Sundance Film Festival.
Criterion has prepared a 4K Ultra HD Blu-Ray edition of Jean Eustache’s The Mother and the Whore, marking the first release of the film on the format.
With uninspired performances, bland writing, and half-baked plot twists, Flight Risk found its wings clipped before it ever had a chance to take off.