thriller
Episode 10 brings Whittaker’s first Doctor Who season to a close, and after her first series of expeditions, it is clear that the writers have struggled to balance a female Doctor.
Kidman and Kusama work impeccably together in Destroyer to create an anti-heroine who can shoulder the weight of a familiar genre while rarely giving in to easy tropes.
For films such as Widows to succeed with their social messages, they need to present a novel story with a genuine message implanted into the infrastructure of the narrative.
A well-acted, mostly captivating, and wholly unpredictable noir, Back Roads is an impressive directorial debut for Pettyfer, who pulls double-duty in his strongest screen performance yet.
We break down the career of Dave Franco, who transitions from the inherently unlikable pseudo-villains to the everyman, unconventional heroes, and some bizarre characters sprinkled in between.
Between Worlds has potential in its more surreal moments, but it never utilizes the tension and conflict that could come from this story.
A mostly forgettable endeavor, The Possession of Hannah Grace is a misfire and a reminder of just what happens when you take a similar concept and do it better.
For those in love with the Archie comics, the original Sabrina and Riverdale, Chilling Adventures of Sabrina is sure to please, with its reimagining providing a little something for everyone.
Unfortunately, the ill-conceived story of Ben is Back does not shine light on the opiod crisis, creating a seedy, underground world that the uninitiated can never comprehend.
The Clovehitch Killer is a creepy coming-of-age serial killer noir with a well-written script, three-dimensional characters and a career performance by Dylan McDermott.
November saw the release of three Robert Altman films on Blu-ray: Brewster McCloud, The Gingerbread Man and Gosford Park. We delve into the last two.
In this Beginner’s Guide we dive into the works of South Korean director Park Chan-wook, who is best known for his excessive and notorious use of extreme violence.
Anchored by three brilliant central performances, Dragged Across Concrete is an interesting, unpredictable movie that zigs when we expect it to zag.
Director David Gleeson constructs a haunting but picturesque film with Don’t Go, a sci-fi about grief and loss.
Cam may not be the full blooded horror its festival hype suggests, but it’s an involving glance at an online world through an unnerving lens.