2025
Heart Eyes is an ode to holiday horror-slasher films of the past, coming into a space that has been left vacant for a while and solidly planting their flag.
We’re taking a look at a documentary following a conservative musical theater production and an ensemble dark comedy about people acting out in suburbia.
Captain America: Brave New World is not the movie that will bring Marvel skeptics back to the franchise. Underneath, it’s still the same formula.
Here’s an ice-cold take: movies nowadays are too damn long. Obviously, this is all relative;…
Sundance this year has Twinless, an audacious exercise in storytelling, and Train Dreams that is equally as compelling.
Love Hurts is still worth a watch, if only for Quan’s tour-de-force performance.
These practical steps forward are redefining what’s possible when creativity meets conservation in the filmmaking process.
A Knight’s War blends classic fantasy motifs and adding a dark, unique edge that’s visually gripping.
In DC, where superheroes feel like gods among men, Gunn brings Superman back down to Earth with his superbly humanistic directing style.
From sharp satire to raw emotion and meta-commentary, these three films take wildly different approaches to storytelling in this Sundance Film Festival.
With uninspired performances, bland writing, and half-baked plot twists, Flight Risk found its wings clipped before it ever had a chance to take off.
While quirky and strange are always welcoming qualities, they can also be quite risky. Wilson Kwong reviews Bubble & Squeak and By Design.
While these three Sundance movies are narratively different, their female focus leaves this trio, all by female directors, a fantastic assembly of our talent in today’s industry.
Presence is not a good horror movie. Instead, the film succeeds as a melancholy drama.
From Sundance Film Festival, Jules Caldeira takes a look at Brides, Seeds, and Sugar Babies.