2020s
“Godzilla Minus One” is a blockbuster that dials up the heart when others may have invested more time (and money) in shoddy visual effects.
While The Crime is Mine doesn’t reach the lofty heights of the classic comedies that influenced it, it’s all too easy to enjoy such a screwball vision.
Wish is a Disney film with many Disney stuff but rarely features any of that Disney magic, reminding the audience of far better films.
Writer and Director Makoto Shinkai talks about his film Suzume, his influences, video games, mourning, loss and having an asteroid named after him!
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.
“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.
Shadow Brother Sunday accomplishes numerous feats, boasting pitch perfect performances, and Ehrenreich displays remarkable promise.
Embark on a spellbinding adventure as we explore three blockbuster Bollywood movies that promise to be a feast for the senses.
Poor Things is a brilliantly weird odyssey of beauty and bile that goes down like a wonderfully bitter-and-sweet cocktail.
Saltburn will be divisive for many, but derivative for more.
“Pain Hustlers” is a decent film that is entertaining enough, yet it is met with the brutal truth of a pain fatigue within the industry.
Bonding is a stylish and intriguing short film that leaves the audience yearning for more.
Napoleon feels a lot like its titular character: loudly ambitious to a fault, and it can’t make up its mind on what to be.