United States
Throughout its limited run, The Eddy is a stylistic and emotional success. Any shots at true greatness, however, are hampered by some persistent narrative frailties.
We delve further into the HBO film Bad Education, discussing further its themes of greed and altruism in the media.
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.
As the 40th anniversary of The Shining nears, we have watched and ranked all of Stanley Kubrick’s theatrical releases.
Faith Based isn’t the funniest film you’ll sit through this year, though it might get you through a lazy Sunday with a few laughs.
Spaceship Earth is a colossal bore, a failure of documentary filmmaking.
We spoke with Brea Grant, writer/director of 12 Hour Shift, about the movie and her creative decisions, collaborations, and inspirations.
Quite beautifully, Lorelei turns this redemption tale into one of the sweetest on-screen portrayals of fatherhood.
Alice Wu’s The Half Of It is a tender teen romance and a nuanced take on sexuality and friendship. Andrew Stover reviews.
Working Man is a quiet debut from writer-director Robert Jury, but all the better for it. Lana Stanczak reviews.
Knowing the legacy of the state Oklahoma, To The Stars turns what could have been a fairly run-of-the-mill coming of age story into a broader indictment of a state’s transcendent violence.
Cody Heller brings an inescapable vulnerability to her latest series Dummy, an honesty not typically seen in female driven stories.
The Clone Wars starts off in the light and ends in the dark. The show ends in an exhale, without a post-credits inhale to give us hope.
As the final season of Clone Wars dipped further and further into the timeline of Revenge of the Sith, it was apparent that we were going to see Ahsoka have to face Order 66 on her own.
Arkansas is beautifully constructed and represents its subject in every solitary element.