2020s
Viral: Antisemitism in Four Mutation is timely and it is vital; it is a documentary that not only a community needs, but all of us do.
While Reichardt seems to be well intentioned here, First Cow falters by being frustratingly empty in both its delivery and narrative focus.
Unfolding like a fever dream with strong performances throughout, Caitlin Kennedy reckons that Horse Girl is well worth each twisting moment.
In She’s in Portland, the elements feel superficial, with the core relationship feeling especially hackneyed.
Downhill skews and scraps the richness of its predecessor and replaces it with dragging drama and cringy comedy.
In spite of some of its trip-ups, it’s hard to find something so genuine in its portrayal of the prevalent anger and worry of these times.
This adaptation of The Call of the Wild doesn’t quite have the same impact as Jack London’s bold portrayal of nature versus man. But it’s hard to decry it all the same.
Come to Daddy oozes Timpson’s remarkable devotion to the emotional, surreal and vicious with grotesque gusto.
Unfortunately, Billy Crystal and Ben Schwartz aren’t enough to elevate Standing Up, Falling Down to success.
While it could have taken more risks, season one of Locke & Key gives us a feasible starting point for what could be a flourishing new fantasy series.
VFW is dumb fun, but unfortunately not nearly as much as the description would make it sound.
Lara Jean Covey is back and more relationship trouble is ahead for her, but the sequel feels like a missed opportunity. Maria Lattila reviews.
Colorful, funny, and filled with great performances, Sonic The Hedgehog is a surprisingly above-average video game adaptation.
There are definitely moments in The Photograph that briefly feel like the Valentine’s Day treat it should be. But ultimately, it falls flat.
What Love Looks Like brings very little to the table in terms of originality or likeability. You’ve seen it all before, done better, and in more captivating ways and with better acting.