comedy
Transit and Diamantino are two films that, though with varying approaches and to varying success, attempt to delve into the political turmoil of our world through their narratives.
Kristy Strouse spoke with Eva Vives, director of All About Nina, using her own emotional history to power this inspiring hybrid of comedy and drama.
Dan Fogelman’s Life Itself has heart, but it’s ultimately too shallow in execution to support his grander ambitions.
Feeling quite like a standalone episode, “The Unicorn in Captivity” the focuses the action on the villainous end of the cast while Dr. Venture has a plot that offers up silliness.
In a decade over-saturated with cheap nostalgia, it is a delight to see a film about the 90s that doesn’t try to be about the 90s; Mid90s tells a timeless story of self-discovery.
Kenneth Branagh and Joss Whedon have each put their unique stamp on Shakespeare’s classic Much Ado About Nothing, and both are essential to the canon.
A hard pill to swallow, Assassination Nation is a blunt, antagonistic, but masterful film, guided by a director who can so easily weave in between political horror, social injustice, dark comedy, and teen comedy.
Polterheist fails to succeed as a comedic or horrifying film, finding no progression of plot but rather further perpetuates racism, misogyny and homophobia.
Despite the attempt to be original with a subtly spooky fogginess, Slice is a sluggish creation, doling out little bits of plot information at an unhurried pace.
It’s uncommon for a film to have scenes of vulgar comedy and yet be heart-wrenchingly emotional – but All About Nina is bold, and deserves your attention.
Though Nappily Ever After begins as encouragement that Black women embrace their natural beauty, it soon feels like a judgment of women who put effort into their appearance.
The House With A Clock In Its Walls has a sense of mischievous fun, with a hearty serving of chills and chuckles to overwhelm any shortcomings.
The documentary Love, Gilda proves that the comedy legend Gilda Radner made laughter the ultimate form of self-defense.
It’s not often that a Venture Bros. episode feels like filler, but “The Unicorn in Captivity” definitely felt like the creators were moving pieces into place for the endgame.
Paul Feig’s latest, A Simple Favor, sees him unshackle himself from his comedy ties – unfortunately, the result is a subpar Gone Girl wannabe.