drama
Stephanie Archer rounds up her experiences at 2018 Tribeca TV Festival, including two world premieres and the 10th anniversary of Shark Tank.
Dan Fogelman’s Life Itself has heart, but it’s ultimately too shallow in execution to support his grander ambitions.
Offering a backstory to the infamous tale of Arthur and his Knights of the Round Table, Excalibur excels in its fantastical showcase delivering a story that is still fresh and grand today.
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.
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.
With an interesting premise not given the correct treatment, The Escort stands as a cinematic experiment that didn’t quite work out.
The English language debut of iconic French director Claire Denis is thematically dense and transgressive, designed to provoke intense debate.
Disappointingly, Peppermint is a film that feels thrown together, poorly edited and overly clichéd, with a failed take on the female vigilante.
We spoke with director Ramaa Mosley about her new film Lost Child, and about just going out there and making the movie you want.
Though Carmine Cangialosi’s American Dresser has endearing moments, both Berenger and David have been on adventures far more befitting the ‘ride of a lifetime’.
The saying goes that the story writes itself, but White Boy Rick shows that even the best tales can be crafted into a boring, listless film.
With some of his most impressively staged set pieces to date, Hold the Dark proves that Jeremy Saulnier is one of the most assured genre filmmakers working today.
It’s easy to call this season “more of the same”, but for a show as good as BoJack Horseman, that’s a compliment.