Film Reviews
A comedy with Haddish, Sumpter and Goldberg is a nice idea, but Nobody’s Fool soon makes you realize that you have been cat-fished.
While Creed II does not reach the fantastic heights of Creed, it still puts up plenty of fight to prove itself worthy.
Owing mostly to the funny duo of Mark Wahlberg and Rose Byrne, Instant Family somewhat succeeds, though its switch to full-out drama by the end is jarring, to say the least.
Robin Hood seems to have a set of requirements to meet, and it gives the bare minimum when meeting them.
The Truth About Killer Robots is an essential part of the ever-evolving debate as to where our civilization currently is, and where it may ultimately be heading.
It is a shame when a movie like Hell Fest this is let down by the very reason for its existence – a slasher movie is only as strong as its slasher and the fear that slasher creates.
The Ballad of Buster Scruggs is some of the Coens’ best work: the storytelling is so delicate and precise, like a beautiful poem squeezed of every superfluous word.
Hanna Fidell and co-writer Carson Mell accomplished a feat rarely seen with The Long Dumb Road, a believable wacky comedy.
The Grief of Others examines how time can only heal wounds if we let it through intentionality and a sense of vulnerability that can be simultaneously scary and painful.
DriverX is a memorable character study, managing to capture the beauty of a city at night, while exploring generational differences and self-discovery.
As Gryphons and Gargoyles sinks its teeth into its willing players, so too does it to the unwilling town of Riverdale – proving itself a game beyond pieces and dice.
A Bread Factory may be dispiriting, but it’s a vital reminder to preserve community spaces, and form connections with those who appreciate the arts.
Izzy Gets the Fuck Across Town is a fever pitch of impetuous energy with an extortionate fervor that matches Izzy’s note for note as she embarks on this most-unorthodox road trip.
AMERICAN HORROR STORY: APOCALYPSE (S8E10) “Apocalypse Then”: A High, Octane Finale That Will Satisfy
Heightened by a rapid editing style and an insane body count, “Apocalypse Then” is the intense, high octane finale we have been waiting for.
Mirai may feel more like a series of vignettes thrown together rather than a cohesive whole, but Hosoda’s wondrous animation style, coupled with a personal look at family dynamics, makes it hard to resist.