Film Reviews
Jodie Whittaker makes her debut in the first episode of Doctor Who’s 11th season, and she is a force of nature, continuing the Doctor’s quest to protect the Earth from outside attackers and invasions.
Monsters and Men is beautifully directed, but it lacks focus, as its choppy and undeveloped structure soon distracts from the matter at hand.
There has never been a film that so thoroughly captures the excitement and danger of space travel as First Man, capturing that intoxicating mix of euphoria and terror of the 1969 Apollo 11 Moon landing.
The Two Jakes may be an inferior sequel to Chinatown, but this Jack Nicholson-directed follow up is more intriguing than its reputation suggests.
With William H. Macy taking the director reins this week, episode five of Shamless gives viewers glimmers of the familial ties that keep this show from going off the deep end.
Considering Quincy Jones’ origins, his struggle, and his accomplishments, the Netflix documentary Quincy is a missed opportunity.
Alex Lines reports on the films he was able to see at the Delphi Bank 25th Greek Film Festival, which celebrates the film movement known as the Greek Weird Wave.
Kate Nash: Underestimate the Girl is an uplifting documentary that proves that even when your circumstances change for the worst, you can rise above them and come out renewed.
Private Life is a beautifully crafted study of two people who struggle to relinquish their desire to control and plan every element of their life.
Ride takes a simple premise and rides it to its logical conclusion, with enough charisma and style to remain interesting.
For all its faults, U – July 22 attempts to throw the viewer into an unimaginable situation instead of passively retelling it is worth celebrating, even if it doesn’t fully achieve its immersive aim.
In our first report from Film Fest 919, Josh Martin recounts the nauseating absurdity of Dogman, memorably fascinating Destroyer and Cannes’ Palme d’Or Shoplifters.
Expelling all mental illness, Maniac blends all conceivable genres and tones, in an unmistakably difficult balancing act set in an unknown retrofuturist timeline.
With an infectious sense of humor and some wonderfully dynamic performances, The Favourite is a shining example of a filmmaker at the prime of his art.
With an unapologetic, feminine roar, City Of Joy takes on a wholly ignored genocide, racism, toxic masculinity and bloodthirsty greed, a rallying cry for survivors of violence and product consumers.