thriller
Few directors have a filmography as unique as George Miller, who has the power to create moments that’ll be ingrained in your mind forever.
On paper, HBO’s newest comedy Run looks like the perfect romance fantasy. But in the end, Run feels more like a failed attempt.
Shirley, as a story, can be unpacked in layers and layers and layers. It’s elegantly built and complex in its structure.
While there are some joys to be found throughout the season finale, every answer to the season’s overarching narrative doesn’t feel satisfying.
Becky is an entertaining thrill ride but runs into trouble with its weak script and mediocre direction.
“Beautiful Monster” fails to carry the momentum that the last few episodes have established.
At the end of the day, The Lovebirds feels like a bad first date. You go in full of hope and a mind for flirting and fun and leave without a meaningful connection.
We spoke with director Vaughn Stein about his upcoming film Inheritance, working with Simon Pegg and Lily Collins, his next film, and more.
Malik Vitthal’s Body Cam is a forbidding tale of revenge that comes at you with speciously righteous fury, and that fury lingers.
As we reflect on this modern phenomenon and our fear of it in film, we must be careful not to make the same errors as the media has made in covering mass shootings.
Dangerous Lies isn’t a terrible film. If you set your expectations appropriately, it can actually be an entertaining movie.
With only two episodes left, and with everyone off their games, everything could turn into fireworks by the end of this season of Killing Eve.
Castle In The Ground is undeniably effective in its portrayal of the opioid crisis, but loses itself in its hopeless narrative. Maria Lattila reviews.
Blood and Money is so content to occupy the safe middle ground without ever doing anything of interest, that it feels like a heartless exercise.
We review episode 5 of the third season of Killing Eve.