The themes of “Fleabag” are heavily supported by the visuals, particularly emphasizing the undertones and tonal shifts between seasons one and two.
Wish is a Disney film with many Disney stuff but rarely features any of that Disney magic, reminding the audience of far better films.
Love Actually is as heartwarming as it is quotable – the experience of love and joy a permanent staple each and every year.
“Princess Cyd” is superbly shot, written and acted, with a relaxing slice-of-life approach to its story that makes it a delight every time.
Writer and Director Makoto Shinkai talks about his film Suzume, his influences, video games, mourning, loss and having an asteroid named after him!
Benefitting from a strong cast (and an even wiser script) Dumb Money adds a touch of wit and wildness to the tired biographical drama format we’ve seen.
Scrooged skillfully blends a cocktail of valuable lessons and infectious laughter, ensuring its place as a memorable addition to the holiday film canon.
A Creature Was Stirring feels as though it has something deeper to say, but never seems to find the cohesion and narrative direction to say it.
The artfulness, creativity, and uniqueness of Our Flag Means Death Season 2, combined with the darling charm and wit, will win audiences over immedately.
“Hanky Panky” is silly, it’s wild, and it’s filthy in all the right ways, made by a team with a clear love of film.
Concrete Utopia stakes its claim as the heir apparent to Parasite and Squid Game and should have similar crossover appeal for international audiences.
Poolman might not be for everyone, but for those of us who want to see a Chinatown-loving himbo finding himself in his own mystery, this is a worthy comedy.
Bridget Jones’s Diary is a classic, yet refreshing, take on the rom-com, showing the imperfectly wonderful side of romance in your thirties.
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Shadow Brother Sunday accomplishes numerous feats, boasting pitch perfect performances, and Ehrenreich displays remarkable promise.