drama
A satisfying slice of sleaze served up on celluloid, Série Noire is a deliciously good watch.
Arkansas is beautifully constructed and represents its subject in every solitary element.
Vitalina Varela is a visually stunning film submerged in regret, remorse, anger, and in some ways a faint light of hope.
Anchored by Sigurdsson’s striking performance, A White, White Day explores the aftermath of a life and a marriage with an intensely introspective eye.
Cowboys is Anna Kerrigan’s delicate and modestly subversive take on the Western, in which a father violates his parole and pulls his son away from an unpleasant upbringing.
Fairytale is an interesting take on the story of a transgender woman’s transition, set against the backdrop of external threats of UFOs, communism and a picture-perfect 1950s setting.
After eight stellar seasons, Showtime’s Homeland has finally come to an end. Prisoners of War…
Endings, Beginnings seems to be an illuminating experience for the actors involved, but an aimless drag for audiences watching.
Brilliantly crafted, Clementine will speak to a variety of audiences, giving messages of not only understanding, but hope.
The third episode of Killing Eve gives us a little hope that maybe there’s still some part of the show that can have a lot of fun despite its dark and bloody premise.
Clement Tyler Obropta looks back at four BBC Agatha Christie adaptations, all reimagined for the small screen by Sarah Phelps.
Although it seems to promise an unvarnished view of a topical issue, ultimately The Flood’s refusal to pick a side robs it of any real purpose.
Rarely has the word “perfect” been more appropriately used than in describing David Simon and Ed Burns’ brilliant The Plot Against America.
We revisit the film Max, a controversial WWII film from 2002 starring John Cusack.
Even though the action sequences of the episode are thrilling, much of what happens this episode, in the end, is just a setup to what will hopefully be an epic season finale.