drama
The Professor and the Madman limps out as a woefully half-baked and overcooked spectacle that mistakes reality for relevance.
We were able to talk with Veronica Chen at Sundance Film Festival, director of the thriller High Tide.
“Absolute Candor” is the first properly disappointing episode that finds Picard treading water and lacking any discernible direction.
Unfortunately, Billy Crystal and Ben Schwartz aren’t enough to elevate Standing Up, Falling Down to success.
While it could have taken more risks, season one of Locke & Key gives us a feasible starting point for what could be a flourishing new fantasy series.
Lara Jean Covey is back and more relationship trouble is ahead for her, but the sequel feels like a missed opportunity. Maria Lattila reviews.
The Patient Man is a well-constructed thriller which deserves to be seen not only on the strengths of its convictions, but also for what it aims to achieve.
There are definitely moments in The Photograph that briefly feel like the Valentine’s Day treat it should be. But ultimately, it falls flat.
What Love Looks Like brings very little to the table in terms of originality or likeability. You’ve seen it all before, done better, and in more captivating ways and with better acting.
As has happened multiple times throughout Homeland’s season openers, we’re presented with what may be a bait and switch.
After two weeks of what was beginning to feel like CSI: Picard, it was nice to return to something recognizably Star Trek in “The End Is the Beginning”.
The Rhythm Section has some enjoyable elements, but in the end, this mostly formulaic flick isn’t the female-driven spy thriller we’ve been looking for.
The Personal History of David Copperfield is a truly sincere retelling of Dickens’ story, one that taps into a new contemporary edge and presents itself in a distinctly cinematic fashion.
For a movie like And Then We Danced, so steeped in the traditional culture of Georgian dance, to embrace its taboo subject matter is defiance, artistically rendered.