United States
Brahms returns in this pointless sequel to The Boy, which starts out with some promise but loses its plot halfway through.
In our final review from Sundance 2020, Janet Lee reviews MinarI, a film that brings an honest story of family, love, selfishness, and humility.
What should have been a sun-soaked blockbuster, Fantasy Island leaves us feeling shamelessly entertained and frustratingly ripped-off.
After Midnight shows much potential in its early-goings, which makes the lack of a satisfying follow-through all the more disappointing.
Even with the brilliance of Faran Tahir’s believable portrayal of a broken villain, I Am Fear flaws weigh heavy, even in the final moments.
It’s Onward and downwards for Pixar, as their Dungeons and Dragons inspired latest is one of their most disposable efforts to date.
While Narcos: Mexico is a slightly different beast to its predecessor, it stays close to its roots, providing an incredibly stylish and engaging story with plenty of flair.
For such a quietly paced film, The Assistant certainly tackles a very serious topic through an intensely contemplative lens.
Viral: Antisemitism in Four Mutation is timely and it is vital; it is a documentary that not only a community needs, but all of us do.
While Reichardt seems to be well intentioned here, First Cow falters by being frustratingly empty in both its delivery and narrative focus.
Each of these stories featured an intriguing idea with theirr own successes, yet the compilation of Grim Woods leaves much to be desired.
Unfolding like a fever dream with strong performances throughout, Caitlin Kennedy reckons that Horse Girl is well worth each twisting moment.
Last week, Holly Gibney (Cynthia Erivo) was in jeopardy, Ralph (Ben Mendelsohn) was really trying…
In She’s in Portland, the elements feel superficial, with the core relationship feeling especially hackneyed.
Shelter is the kind of film you watch when you want something that is wholesome, but not chaste, that will end happy.