drama
Mary Queen of Scots has no shortage of talent in front of the camera to make it one of this year’s most overlooked but satisfactory films.
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.
There are successful films buried within Bird Box, but it refuses to build any identity as a film beyond its concept.
Mowgli: King of the Jungle doesn’t impart the sort of excitement you might hope from the newest entry, but it does have a resonance that many of its predecessors didn’t.
If the Fantastic Beasts films are going to recapture the magic of Harry Potter, they need to focus on where their true magic lies, and that might be with one man named Jacob Kowalski.
The Leisure Seeker isn’t a bad film, but its sluggish pace, inexplicable changes between the film and the book, and some corny dialogue keep it from being great.
Welcome to Marwen is an unfortunately shallow endeavor, with trite dialogue and a saccahrine portrait of very serious issues.
As if to reject beauty’s notoriously food-phobic reputation once and for all, Dumplin’ is pure visual comfort food.
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.
In this beginner’s guide we look back at the career of director Joe Dante, focusing mostly on his iconic 1980s hits.
We take a retrospective look at Ingmar Bergman’s The Serpent’s Egg, which many view as a misfire from the director, but could be seen more favorably through another light.
We were able to talk with Megan Griffiths, director of the dark coming-of-age drama Sadie, which is now available in the U.S. on VOD.
We spoke with Alex Pettyfer, director and star of Back Roads, about what it was like directing for the first time, how much this project meant to him, and his take on the story.
For films such as Widows to succeed with their social messages, they need to present a novel story with a genuine message implanted into the infrastructure of the narrative.
A well-acted, mostly captivating, and wholly unpredictable noir, Back Roads is an impressive directorial debut for Pettyfer, who pulls double-duty in his strongest screen performance yet.