drama
The performances, writing, direction, and overall energy remain superb, further showing a series that is as confident as it is bold.
Featuring a strong performance by Bill Nighy and not a whole lot else, there isn’t much in Sometimes Always Never to make this film stand out.
This slick spy story has too many tricks up its sleeve, leading more to confusion than thrills.
Retrocausality has a lot of pieces that could make both an interesting and philosophical character study but it is not executed well.
As an ending to the first batch of the season, the episode gives us exactly what we want: explosive anticipation of Bobby and Mike’s war.
Liberté is sexual, it’s arousing in respects, it’s taboo in many instances, but overall, it is grotesque and repulsive.
With just her voice and her eyes, Marlene Dietrich lays bare Lola’s body and heart in The Blue Angel – and we fall under her spell.
Spring Night, Summer Night serves as a remarkable example of why funding the preservation, restoration, and release of older films is so important.
Audiences are well-endowed with a suspension of disbelief, and we deserve nostalgic, beautiful, happy stories Like The Handmaiden.
Quiz may not be historically accurate, but by maintaining its ambiguity, Quiz manages to achieve something bigger.
I’m No Longer Here allows the heart to overpower technique, and resulting in a heart-warming tale of cultural identity and the lack of it.
Boaz Yakin’s Aviva is an experience not just in the crafting of relationships, but what goes on behind the scenes.
Lee Jutton spoke with Agnieszka Holland about her film Mr. Jones, the most surprising thing she learned while making the film, and the role of journalism in keeping democracy alive today.
With its diverse cast, well fleshed-out characters, and stylistic choices, Go Fish is a must-watch.
Mr. Jones highlights the need for investigative journalism even in a world where hard evidence can be met with accusations of untruth.