crime
While not quite as offensive as Gotti, Speed Kills is just as disposable, with Travolta yet again starring in an incompetent and unimaginative feature.
It’s been ten years since massive AMC hit Breaking Bad took to the screens and masterminded its way into television history, and it hasn’t begun to lose its luster yet.
The Mule is a worthy callback to Clint Eastwood’s career, playing a 90-year-old drug mule that hopes to make up for his past shortcomings.
Kidman and Kusama work impeccably together in Destroyer to create an anti-heroine who can shoulder the weight of a familiar genre while rarely giving in to easy tropes.
The charisma of Macaulay Culkin matched with the intelligent script by John Hughes makes Home Alone the definitive holiday story that it is, appealing to all ages.
If Beale Street Could Talk is an ode to young love, a tragedy about injustice, a poetic depiction of the loss of innocence, and so much more.
We break down the career of Dave Franco, who transitions from the inherently unlikable pseudo-villains to the everyman, unconventional heroes, and some bizarre characters sprinkled in between.
Trust Machine: The Story of Blockchain from director Alex Winter is a ride worth taking and asking how will you imagine the world.
Unfortunately, the ill-conceived story of Ben is Back does not shine light on the opiod crisis, creating a seedy, underground world that the uninitiated can never comprehend.
This month’s Staff Inquiry is all about our most beloved examples of film noir, picking from the classic era of the ’40s and ’50s.
Anchored by three brilliant central performances, Dragged Across Concrete is an interesting, unpredictable movie that zigs when we expect it to zag.
Write When You Get Work can be sweet, and there are semblances of earnest intentions, but overall it feels tame.
As a follow-up to our previous recommendations on underrated 1940s noir for Noirvember, we jump a decade later, to the 1950s.
In celebration of Noirvember, we present to you a list of 15 underrated classic noirs from the 1940s.
Another cinematic stab at Lisbeth Salander will always appeal to the character’s preexisting fans, but The Girl in the Spider’s Web does nothing to show the uninitiated what they’re missing.