drama
I have a book that’s been staring me in the face for years. It sat…
Neon Bull employs the unique routine of rodeos to approach – and subvert – gender stereotypes.
Alice is a film that should enlighten anybody, because it’s about society as much as it is about Alice herself.
Castle In The Ground is undeniably effective in its portrayal of the opioid crisis, but loses itself in its hopeless narrative. Maria Lattila reviews.
Patrick Bateman represents the horrors of addiction, hedonism, narcissism and greed – and with a dose of humour, he’s a character that remains ingrained in our pop culture landscape.
Throughout its limited run, The Eddy is a stylistic and emotional success. Any shots at true greatness, however, are hampered by some persistent narrative frailties.
The Wolf House uses stop-motion animation to render the world inside the titular house as an ever-evolving nightmare, and is completely immersive despite its freakiness.
Much like last week’s episode of Billions, ‘The Chris Rock Test’ is a solid episode that moves fast and sets the season’s overarching story in motion.
From Murnau’s inventive visual storytelling to Jannings’ wonderful performance, The Last Laugh is the perfect film to begin one’s journey into the world of Weimar cinema.
We review episode 5 of the third season of Killing Eve.
This formula is exactly why even after four brilliant seasons, Billions still manages to keep things fresh and surprising.
Ema is not like any other film that has come out this year so far. Its celebration of female agency is like a fever dream — indescribable and euphoric.
Alice Wu’s The Half Of It is a tender teen romance and a nuanced take on sexuality and friendship. Andrew Stover reviews.
Working Man is a quiet debut from writer-director Robert Jury, but all the better for it. Lana Stanczak reviews.
When compared to the previous three episodes, ‘Still Got It’ is by far the strongest installment of season three of Killing Eve.