comedy
Liam O Mochain, the writer director and star of Lost & Found, talks about the five year process of making his portmanteau film.
In this latest series of The Simpsons Greatest Hits, we review “Lisa’s Substitute,” a well-acted, well-written episode with a perfect finale.
Behind the grief, behind BOB, lies the simple reality that Twin Peaks pushes: that the dream of suburbia and happiness that America sells may be a lie.
Slut in a Good Way is an unapologetic celebration of first love, first heartbreak, and everything else that comes with being a teenage girl.
The first episode of What We Do In The Shadows is a macabre romp that remarkably adds and expounds upon the comedic elements of its filmic progenitor.
In a search to find the best The Simpsons episode, we review Season 7, episode 2 called “Radioactive Man.”
Stanley Donen is a testament to the fact hopes and dreams are necessary because sometimes they do come true.
Spring Breakers may be much more profound of a film than initially thought, lucidly expressing our fascination with money and violence.
Alex Lines reports back from Alliance Française French Film Festival 2019 where he saw Olivier Assayas’ Non-Fiction – an increasingly rare type of drama.
Good Boys is not for everyone, for it is messy and repetitive in what it’s doing, but it is also exceptionally funny, charming, and thoughtful.
In this latest series of The Simpsons Greatest Hits, we discuss the episode Bart Sells His Soul, a darker episode for the character.
While at times a frustrating watch, The Cannibal Club is an unusual treat for horror fans and a fascinating piece of filmmaking from Guto Parente.
Knife + Heart constantly walks the very fine line between a comedy and a true horror. It at times excels at both, but rarely infuses the two into a coherent film.
A Madea Family Funeral is a message we need to hear, but sadly, the Hallelujah’s don’t come until the credits.