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Generic in all the worst ways, Animal Among Us is poorly executed, feeling like a throwback to the worst of mid 2000’s horror.
Not as impactful or satisfying as its daring predecessor, The End of the F***ing World is not the end of the world, but it’s not a crucial send-off either.
Earthquake Bird is likely to be but a blip in the filmography of both its stars and director.
In a compassionate ending, the season wraps up with a happy ending for all, a rarity for American Horror Story.
While the tone, look and disturbing special effects will enthrall audiences in the beginning, Daniel Isn’t Real misses the mark in its third act.
Lorna Codrai looks at why 2006 was the most pivotal year of DiCaprio’s career, a year change him from a Prince to King of the World
Unfortunately, our hero has fallen victim to the sophomore slump; Jack Ryan has made a lackluster return to our screens for season 2.
In his latest report from Monster Fest 2019, Alex Lines reviews the 1994 restored Tammy and the T-Rex and directorial debut Come to Daddy.
The Report is deserving of every ounce of praise it receives on its performances, accuracy, and commentary, but getting through the film is a bit of a slog.
In this episode of AHS 1984, we are given Richter’s background, completing the grisly characteristics of his damaged self.
Ready or Not heralds the arrival of a fantastic talent in Samara Weaving, as well as directors Matt Bettinelli-Olpin and Tyler Gillett.
Countdown is not aggressively terrible, but it’s life-threateningly dull.
Doctor Sleep may not be the most satisfying conclusion to both the book and film version of The Shining, yet it is still an engaging film in its own right.
Reporting from Chicago International Film Festival, Lana Stanczak reviews Components of Love, Jojo Rabbit and The Irishman.
Even in its short runtime, Red Letter Day disappoints by the sheer laziness of never pushing the screenplay to a possibly climactic finale.