Pray Away: Consequences of ‘Conversion’ (Review)
The Offering: Catalan Cinema Transcends (Review)
Stillwater: Matt Damon Delivers in Complex Crime Thriller (Review)
Old: An Ambitious But Unfulfilling Family Thriller (Review)
Snake Eyes: G.I. Joe Origins: G.I. Joe Reboot is a Misfire (Review)
Star Wars: The Bad Batch – “Infested” (Ep. 13 Review)
The Fever: Indigenous Identity Under Fire (Review)
Werewolves Within: Just Enough Bite to Satisfy (Review)
Settlers: Introspective and Contemplative ‘Sci’-Fi (Review)
law about dating a minor in california
Joe Bell: A Father’s Crusade to Love His Son (Review)
Fear Street Part 3: 1666 – Finale Stays the Course in Satisfying Conclusion (Review)
Magic Mike XXL: The America That Could Be (Review)
Space Jam: A New Legacy (2021): Long Awaited Sequel is A Mixed Bag (Review)
Star Wars: The Bad Batch – “Rescue on Ryloth” (Ep. 12 Review)
Gunpowder Milkshake: A Fizzling Flare-Up Of Phosphorescent Femininity (Review)
Pig: Nicolas Cage is Captivating in Contemplative Drama (Review)
Loki (Episode 6 Review): Welcome to the Multiverse
Murder By Decree: Sherlock Holmes takes on Jack the Ripper (Review)
Cinema Paradiso: Celebrating Childhood, Connection and Cinema (Review)
Casanova, Last Love: Lust, Love and London (Review)
Fear Street Part 2: 1978 – Horror Continues In Summercamp Slaughter (Review)
Ted Lasso Season 2 Episode 1 Review: A New Start for AFC Richmond
Black Widow: ScarJo’s Marvel Swan Song is Simply Spectacular (Review)
Star Wars: The Bad Batch – “Devil’s Deal” (Ep. 11 Review)
Snatch: British Gangsters Botch Up (Review)
Jennifer’s Body: Unfortunately Ahead Of Its Time (Review)
Loki (Episode 5 Review): Through the End of Time (with an Alligator)
Deerskin: Dujardin Dazzles in Absurdist Horror (Review)
Space Jam (1996): The 90s Classic Is A Blast (Review)
The Surrogate: Moral High Grounds and Theatrics (Review)
Fear Street Part 1: 1994 – Teen Slasher Begins Horror Anthology (Review)
Star Wars: The Bad Batch – “Common Ground” (Ep. 10 Review)
No Sudden Move: Classic Soderbergh (Review)
Park Chan-wook ‘s Thirst: The Humanity of the Inhumane (Review)
The Forever Purge: A Petrifying Parallel to Today’s Turmoil (Review)
Loki (Episode 4 Review): The Ghosts of Timelines Past
A Perfect Enemy Surprises, But Doesn’t Entertain (Review)
Zola: Social Media-Inspired Stripper Saga Is a Riotous Ride (Review)
The God Committee: Stage-to-Screen Transplant Lives and Breathes (Review)
Star Wars: The Bad Batch – “Bounty Lost” (Ep. 9 Review)
All Purge Films Ranked (From Worst to Best)
Good on Paper Sounded…Good on Paper (Review)
F9: A Saturday Morning Cartoon Come To Life (Review)
The Mysterious Benedict Society on Disney+: Quirky, but Flawed (Ep. 1-2 Review)
Bo Burnham: Inside: Side-splitting Comedy Special (Review)
Katla: Icelandic Folk Tale Enthrals (Review)
Loki (Episode 3 Review): “Are You Sure You’re A Loki?”
Fatherhood: Raising a Child Takes a Village (Review)
Luca: Pixar ’s Fish Out of Water Fable is Practically Perfect (Review)
All Fast & Furious Movies Ranked (From Worst To Best)
False Positive: A Melting Pot of Themes and Tones (Tribeca Review)
Star Wars: The Bad Batch – “Reunion” (Ep. 8 Review)
Fathom: The Sound of Whales (Tribeca Review)
Loki (Episode 2 Review): Holding Out For A Hero
The Perfect David: Aesthetic and Athletic Obsessions (Tribeca Review)
Director James A. Castillo on Madrid Noir (Tribeca Interview)
Do Not Hesitate: War Drama Makes the Most of its Brief Runtime (Tribeca Review)
Les Nôtres (Our Own) – Unresolved issues (Review)
Wu Hai: A Bleak, Hopeless Drama (Tribeca Review)
The Lost Leonardo: Buzz and Fuzz in the Art World (Tribeca Review)
Catch the Fair One: Bleak but Thrilling (Tribeca Review)
Peter Rabbit 2: The Runaway: A Hare-Raisingly Hilarious Hoot (Review)
Shapeless: An Unformed Psychological Drama (Tribeca Review)
Glob Lessons: Indie Road Film Brims With Authenticity (Tribeca Review)
Star Wars: The Bad Batch – “Battle Scars” (Ep. 7 Review)
All My Friends Hate Me: A Great Horror-Comedy for the Socially Anxious (Tribeca Review)
Holler: Strive To Survive (Review)
Infinite: Wahlberg Anchors a Silly but Solid Sci-Fi Actioner (Review)
Sing, Freetown: One Play for the Soul of a Nation (Review)
Last Film Show: A Love Letter to Storytelling (Tribeca Review)
Poser: Questioning the Authenticity of Art (Tribeca Review)
Mark, Mary & Some Other People: The Ups and Downs of an Open Relationship (Tribeca Review)
Loki ‘s Premiere: New (Glorious) Purpose for The God of Mischief (Ep. 1 Review)
Take Me Somewhere Nice: Wandering through Bosnia (Review)
Goodbye, Dragon Inn: A Bittersweet Ode to Cinema (Review)
Vanquish: All (Bad) Style, No Substance (Review)
Mare of Easttown: Winslet Steals The Show (Review)
The Conjuring: The Devil Made Me Do It: A Tiresome Threequel (Review)
Star Wars: The Bad Batch – “Decommissioned” (Ep. 6 Review)
Tribeca 2021: 20 Films to Watch at the Festival
BPM (Beats Per Minute): Silence Equals Death (Review)
Panic: Overdue Adaptation Fails to Thrill (Review)
Sunflowers: Riveting Documentary on Van Gogh ’s Passion (Review)
Flashback: Psychological Puzzle Thrills (Review)
All Conjuring Universe Films Ranked (From Worst to Best)
The Underground Railroad: Brutal, Beautiful Television (Review)
Star Wars: The Bad Batch – “Rampage” (Ep. 5 Review)
A Quiet Place Part II Sets a New Standard for Horror Sequels (Review)
All Indiana Jones Films Ranked (From Worst to Best)
Game of Thrones: Celebrating A Ruined Legacy
The Taiwanese Tales of Edward Yang
Cruella: The Return of Great Disney Storytelling (Review)
“Go To Hell!” – 5 Unforgettable Film and TV Portrayals of the Devil
The Devil’s Candy Treads on Familiar Ground, But Succeeds in Execution (Review)
Labyrinth of Cinema: An Ode to Filmmaking (Review)
I Used To Be Normal: Fangirling At Its Finest (Review)
Censor: A Throwback to Video Nasties (SIFF Review)
All Disney Live-Action Remakes Ranked (From Worst to Best)
Star Wars: The Bad Batch – “Cornered” (Ep. 4 Review)
In The Heights: The Musical Sensation of the Summer (Review)
The 10 Greatest Southeast Asian Films, Ranked
Army Of The Dead: Snyder’s Zombie Heist Film Hybrid Slays (Review)
It Follows: Modern Low-Budget Horror At Its Best (Review)
Pink: All I Know So Far – “The Truth Underneath” (Review)
Blast Beat: A Jack of All Trades and A Master of None (Review)
Psycho Goreman: Low Budget Glory (Review)
The Woman in The Window: An Uninspired Hitchcockian Fever Dream (Review)
Profile: A Chilling Game Of Cat & Mouse (Review)
Gangs of London: Crime in the Big Smoke (Review)
Those Who Wish Me Dead: Taylor Sheridan’s Grand Actioner (Review)
Star Wars: The Bad Batch – “Replacements” (Ep. 3 Review)
Spiral: A Ferocious Return to Form for the Saw Franchise (Review)
Zebra Girl: British Mental Health Thriller Disappoints (Review)
Sequin in a Blue Room: Discoveries, Desire, Danger (Review)
Quiz: A Very British Scandal (Review)
Oxygen on Netflix: Laurent Excels in Surprisingly Philosophical Thriller (Review)
The Prophet and the Space Aliens: Is this Raël life? (Review)
Proper Binge: Gritty but Hopeful Drama (Review)
The Killing of Two Lovers: Slow Burn Family Drama Doesn’t Reach Its Potential (Review)
Star Wars: The Bad Batch – “Cut and Run” (Ep. 2 Review)
All Saw Films Ranked (From Worst to Best)
Star Wars: The Bad Batch – “Aftermath” (Ep. 1 Review)
Johnny Mnemonic: What if Keanu Reeves were a USB Stick? (Review)
Ten Good Things About The Star Wars Prequels
The Music of Star Wars: The Best Musical Themes, Ranked from Worst to Best
Never Gonna Snow Again: A Whimsical Modern Fairytale (Kino Polska Review)
Things Heard & Seen: A Ghost Story with Intelligence (Review)
I Never Cry: Life is Short (Kino Polska Review)
Granada Nights: My Heart Will Go On (Review)
Peaks and Valleys: Unlikely bonding in Alaska (Review)
Kill it and Leave This Town: An Animated Nightmare (Kino Polska Review)
Berlin Alexanderplatz: Despair Leads to Damnation (Review)
Eastern: Dystopian Blood and Honour (Kino Polska Review)
Percy vs. Goliath – the Little Guy vs. the Behemoth (Review)
About Endlessness: A Tableau of the Human Condition (Review)
The Resort: Young People Seek Out A Haunted Vacation (Review)
Mortal Kombat Nails the Goofy, Gory Vibe This Property Deserves (Review)
2021 Oscars: Download Our Printable Ballot Sheet!
The Falcon and The Winter Soldier: One World, One People (Ep. 6 Review)
All Episodes of Ted Lasso ‘s Season 1, Ranked from Worst to Best
The Other Side of the Underneath: “Strength is Madness”(Femspectives Review)
Oscars 2021 Predictions: Who will win, and who should win?
Stowaway: Suspenseful Sci-Fi Drama is a Tension-Filled Treat (Review)
The Mitchells vs. the Machines: A Riotous Robot Apocalypse (Review)
Netflix’s Shadow and Bone: Different, in All the Right Ways (Review)
Our People Will Be Healed: Cree Culture (Femspectives Review)
The Kid Detective: A Witty, Stylish Noir Mystery (Review)
Boys from County Hell: Vampiric ‘Craic’ (Review)
Here Are the Young Men: Nihilistic Irish Teens Renegade (Review)
10 Spectacular Shorts from SIFF 2021
Them: American Racial Horrors in 1950s Suburbia (Review)
The Falcon and The Winter Soldier: Truth (Ep. 5 Review)
Wyrm: Popping Collars (SIFF Review)
National Theatre’s Romeo & Juliet: Stage on Screen (Review)
Under the Open Sky: Kōji Yakusho Excels in Patient Drama (SIFF Review)
Mother’s Milk: An Entrancing Cinematic Odyssey (SIFF Review)
A History of Horror “Legacyquels”
Father: It’s the 21st Century (SIFF Review)
Captains of Zaatari: Skimming the Surface of Refugee Camps (SIFF Review)
Summertime: An Electrifying Portrait of LA (SIFF Review)
The Dog Who Wouldn’t Be Quiet: Transient Bliss (SIFF Review)
Criollo: A Culinary Journey through Uruguay (SIFF Review)
Monday Dawns After Wild Weekend (Review)
Athanor – The Alchemical Furnace: Understanding Jan Švankmajer (SIFF Review)
The Unknown Saint: What Do You Believe In? (SIFF Review)
Caterpillars: Central African Republic Documentary Enlightens (SIFF Review)
The Shepherdess and the Seven Songs (SIFF Review)
The Legend of Hei: A Charming, Kid-Friendly Adventure (SIFF Review)
Sweat: The Woman Behind the Screen (SIFF Review)
Preman: Indonesian Thriller Disappoints (SIFF Review)
All Sorts: The Surreal World of the Office (SIFF Review)
The Falcon and The Winter Soldier: The World Is Watching (Ep. 4 Review)
Strawberry Mansion: A Journey Through Dreams (SIFF Review)
Sensation: Decidedly Unsensational Sci-fi (Review)
Thunder Force: McCarthy and Spencer Charm in Superhero Comedy (Review)
Voyagers Ends Where It Should Have Begun (Review)
Coded Bias: AI Will Not Save Us (Review)
Hope: Tender Love Heals in Scandinavian Drama (Review)
SXSW Online XR Took Us to Austin: Interview with Blake Kammerdiener
SIFF 2021: 10 Films to Watch
Moffie: Heavy Themes in Apartheid War Romance (Review)
Zack Snyder’s Justice League: 7 Reasons Snyder Succeeds
Slalom: The Journey to Saying “No” (Review)
The Reckless Storytelling of Run Hide Fight
The Unholy: Familiar but Frightening Faith-Based Horror (Review)
Godzilla vs Kong: A Cinematic Rematch for the Ages (Review)
Zack Snyder’s Justice League: 7 Chapters of Disappointment
A Week Away: New Christian Musical Fails to Impress (Review)
Nobody: Better Call Bob Odenkirk (Review)
Dear Comrades!: Remembering Novocherkassk (Review)
Alex Noyer and James Jagger on “Sound of Violence” (SXSW Interview)
The Falcon and The Winter Soldier: The Star-Spangled Man (Ep. 2 Review)
Under The Volcano: The “Magic” of AIR Studios Montserrat (SXSW Review)
Bad Trip: Eric André’s Hidden Camera Comedy is Hilarious (Review)
Malmkrog: Death by Discourse (Review)
Stacey Gregg on Her Feature Debut “Here Before” (SXSW Interview)
Rūrangi: Celebrating Trans Representation (BFI Flare Review)
Clerk: Funny and Surprisingly Touching Doc (SXSW Review)
Honeydew: Sawyer Spielberg Stars in Lacklustre Horror (Review)
Reklaw: Quirky Vigilantes Clean Up Well (SXSW Review)
The Good Traitor: Undermining A Rogue’s Achievements (Review)
Silk Road: A Compelling and Dark Crime Thriller (Review)
The One on Netflix: Enjoyable But Flawed DNA-Based Dating Series (Review)
Cowboys: An Intelligent Portrayal of Transgenderism (BFI Flare Review)
Language Lessons: A Heartfelt Ode to Human Connection (SXSW Review)
The Drover’s Wife The Legend of Molly Johnson (SXSW Review)
Jump, Darling: Gloriously Funny, Seriously Touching (BFI Flare Review)
My First Summer: A Tender Tale of Young Sapphic Love (BFI Flare Review)
The Falcon and The Winter Soldier: New World Order (Ep. 1 Review)
Drive All Night: Dreamy Noir Takes a Few Wrong Turns (Cinequest Review)
Mama Weed: Isabelle Huppert Elevates Comedic Crime Flick (FFF Review)
Writer-Director Elle Callahan on “Witch Hunt” (SXSW Interview)
Violet: Justine Bateman Gives A Voice to Anxiety (SXSW Review)
Jocelin Donahue, Joe Swanberg, and Mickey Keating on Offseason (SXSW Interview)
Violation: Complex and Dynamic Genre Thrills (SXSW Review)
Sound of Violence: Gory Midnight Fun (SXSW Review)
The Hunt for Planet B: A Masterful Doc of the Stars (SXSW Review)
Alien on Stage: The Best “Alien” Film Since “Aliens” (SXSW Review)
Swan Song: An Aging Hairdresser Looks Back on His Life (SXSW Review)
The Fallout: A Truthful and Traumatic Teenage Tragedy (SXSW Review)
Women Is Losers: Lorenza Izzo Is Winner (SXSW Review)
Witch Hunt: Fantasy Thriller Tackles Today’s Troubles (SXSW Review)
Offseason: Evocative and Exciting Horror (SXSW Review)
The Feast: A Slow-Moving Horror Drama Devoid of Scares (SXSW Review)
Paul Dood’s Deadly Lunch Break: Revenge At Its Most Glam-Rock (SXSW Review)
United States vs. Reality Winner: A Plea for Freedom (SXSW Review)
The Return: Her Life After ISIS (SXSW Review)
Our Father: The Complexities of Sorrow and Sisterhood (SXSW Review)
Broadcast Signal Intrusion: Harry Shum Jr Falls Down a Rabbit Hole (SXSW Review)
Recovery: COVID Road Trip Comedy is a Laugh Riot (SXSW Review)
Here Before: A Compelling Psychological Thriller (SXSW Review)
Potato Dreams of America: Coming of Age Dramedy Delights (SXSW Review)
Poly Styrene: I am a Cliché, Study of a Punk Legend (SXSW Review)
Luchadoras: Harrowing Filmmaking Highlights Heroic Women (SXSW Review)
Banksy Most Wanted: Insightful Documentary Reveals the Pitfalls of the Art Market (Review)
Nathaniel Kahn on The Hunt for Planet B (SXSW Interview)
The Courier: A Strong Spy Thriller (Review)
The Banishing: Formulaic Haunted House Horror (Review)
Home Front (Des Hommes): Psychological Wounds of War (FFF Review)
SXSW 2021: 15 Films to Watch at South By Southwest
Danielle Kummer and Lucy Harvey on Alien on Stage (SXSW Interview)
In Bed with Victoria: A Comedic Drama on Modern Women (FFF Review)
Yes Day: Feel-Good Family Comedy Charms (Review)
Night Shift: (Un)Realistic Police Work (FFF Review)
Stephen Meek, Mallory Everton, & Whitney Call on Recovery (Interview)
All The MCU Movies Ranked (From Worst to Best)
Beans: The Youth Are Starting to Change (Miami Film Festival Review)
Duel: You’ll Never Drive On The Road Again (Review)
Love Affairs: Subtly Complex Love Story Enchants (FFF Review)
Martyr: An Artistic, Meditative Portrayal Of Grief (Review)
Quo Vadis, Aida? – Revisiting A Dark Era (Miami Film Festival Review)
Persona: The Dark Truth Behind Personality Tests – A Good Start (Review)
The Translators: A Whodunnit, a Howdunnit, and a Whydunnit (FFF Review)
WandaVision: The Series Finale, Wanda Says Goodbye (Ep. 9 Review)
Ludi: From Struggles to Strengths (Miami Film Festival Review)
Raya and the Last Dragon: An Action-Packed Animated Epic (Review)
Surge: A Sensory Pursuit for Primal Liberation (GFF Review)
Sin La Habana: Anything for a New Home (Miami Film Festival Review)
Director Aneil Karia on Feature Debut Surge (GFF Interview)
Our Midnight: A Captivating Ode To Lost Souls (GFF Review)
Castro’s Spies: Detailed Documentarian Captivates (GFF Review)
A Brixton Tale: A Well-Edited Romance (GFF Review)
Sweetheart: A Charming, Heartfelt Coming of Age Film (GFF Review)
Chaos Walking: finds calm in Tom Holland (Review)
Keep An Eye Out (Au Poste!): Divisive, Intriguing Work (Review)
Tom and Jerry: An Amusing Family Adventure (Review)
All Dr. Seuss Adaptations Ranked (From Worst to Best)
Body Brokers: Solid Drama About Addiction Profiteers (Review)
Tina Releases the Singer from her Past (Glasgow Film Festival Review)
Back to the Wharf Values Density Over Simplicity (GFF Review)
Boss Level: Scott Pilgrim Vs The Time Loop (Review)
Vicious Fun: Clever, Ironic and Effortlessly Entertaining (GFF Review)
The Winter Lake: Disturbing Country Life Unveiled (Review)
Iorram (Boat Song): Traditions and Tales of the Scottish Hebrides (Glasgow Film Festival Review)
Dreams on Fire: A Fascinating Slice of Japanese Subculture (GFF Review)
The Toll: Black Comedy Meets Crime From New Welsh Talent (GFF Review)
Pacific Rim: The Black Uncancels the Franchise’s Apocalypse (Review)
WandaVision: Previosly on – Agatha All Along (Ep. 8 Review)
Golden Globes 2021 TV Predictions: Who will win, and who should win?
Golden Globes 2021 Film Predictions: Who will win, and who should win?
All Wrong Turn Films, Ranked (From Worst to Best)
The Mauritanian: Exposé on Guantanamo Bay Educates & Enrages (Review)
Cherry: Tom Holland Captivates with a Career-Best Performance (Review)
The Stylist: Sensitive Slasher Flick is a Ferocious Fright (Review)
Gunda: The Secret Life of Pigs (Glasgow Film Festival Review)
Jumbo: Coming-of-Age Shows Unconventional Love (Glasgow Film Festival Review)
Enemies of the State: A Reminder That Truth is “Never Simple” (Glasgow Film Festival Review)
The Vigil: Religious Thriller Doesn’t Come Together (Review)
Undergods: An Anthology of Despair (Review)
Riders of Justice: Flawless Storytelling (Review)
The Burnt Orange Heresy: Intriguing Pretentiousness (Review)
Da Capo: School of K-Rock (Glasgow Film Festival Review)
Cody Calahan on “Vicious Fun” (Glasgow Film Festival Interview)
WandaVision: Breaking the Fourth Wall (Ep. 7 Review)
The United States vs Billie Holiday: Dull, but Day Delivers (Review)
I Care a Lot: Pike is a Powerhouse in Blistering Black Comedy (Review)
“We Have to Go Back”: All Six Seasons of Lost, Ranked
The Five Best Films by Taika Waititi, Ranked
Sex, Drugs & Bicycles: Meet Dutch Social Democracy (Review)
Ham on Rye: A Fresh Take on the Coming-of-age Genre (Review)
Wrong Turn: A Solid Slasher Film For Genre Fans (Review)
Child Star Jacob Perez on “The Marksman”: A Personal Project (Interview)
The Old School of Capitalism: An Intriguing Study of Workers’ Rights (Review)
Valentine’s Day 2021: 10+ Films to Watch This Year
WandaVision: All-New Halloween Spooktacular! (Ep. 6 Review)
Land and Freedom: What Does it Take to Win a Revolution? (Review)
To All the Boys: Always and Forever: An Enchanting Ending (Review)
Earwig and the Witch: Disappointing Ghibli Misfire (Review)
Willy’s Wonderland: Nic Cage vs Animatronics- Deathmatch (Review)
Barb and Star Go to Vista Del Mar Is Absurd Fun (Review)
Breaking News in Yuba County: Goofy Coen-Style Comedy (Review)
Casino: Scorsese’s Occasionally Overlooked Masterpiece (Review)
It’s A Sin – The Euphoria and Heartbreak of 1980s Britain (Review)
Test Pattern: Racial Inequality in US Healthcare (Review)
The Rental: A Horror That Tries Too Much (Review)
Ruth: Life and Legacy of Justice Ginsburg (Review)
Sia’s “Music” Isn’t Interested In Its Titular Character (Review)
I Blame Society: Dark Mockumentary Blurs Reality (Review)
Flee: Moving Refuge Documentary (Sundance Review)
The World to Come: Smart, Moving Period Romance (Sundance Review)
Dara of Jasenovac: Extremely Well-Made and Extremely Sad (Review)
WandaVision: On a Very Special Episode … the World Cracks (Ep. 5 Review)
Lou Ward on Tinker: “Memories are What Make ‘You’ You” (Interview)
Driveways: The Film We All Need Right Now (Review)
Arrival: Language at its Finest (Review)
Land: Robin Wright ’s Solid Directorial Debut (Sundance Review)
Hive: Rebellion In the Face of Patriarchy (Sundance Review)
A Discovery of Witches Season 2 Ep. 5-10: Magic, Love and Danger (Review)
One For The Road: A Heartfelt, Emotional Ride (Sundance Review)
Eight for Silver: Period Werewolf Film Thrills (Sundance Review)
Happy Cleaners: Introspection on the Immigrant Experience (Review)
Judas and the Black Messiah: Kaluuya Dominates Dynamite Drama (Sundance Review)
Prisoners of the Ghostland: Nicolas Cage Fights For Humanity (Sundance Review)
The Sparks Brothers: The Sundance Review Fanfare!
A Nightmare Wakes: A Monstruous Mary Shelley Rises (Review)
Prime Time: A Claustrophobic Thriller With No Thrills (Sundance Review)
John and the Hole: Mesmerizing Pyschological Thriller (Sundance Review)
Passing: Well-made Directorial Debut for Rebecca Hall (Sundance Review)
Cryptozoo: A Kaleidoscopic Adventure in Animation (Sundance Review)
M.C. Escher: Journey to Infinity, The Dimensions of an Artist (Review)
Mass: An Immaculate Acting Showpiece (Sundance Review)
Try Harder!: The Hidden Cost of Being the Best (Sundance Review)
Little Fish: Memories Are All We Have (Review)
On the Count of Three: A Tense, Exciting Black Comedy (Sundance Review)
How It Ends: Amusing Episodic Comedy (Sundance Review)
The Pink Cloud: Vibrant Surreal Cinema Anticipates Reality (Sundance Review)
WandaVision: We Interrupt This Program (to Join the MCU) – Ep. 4 Review
CODA: Silence is Golden in Deaf Family Dramedy (Sundance Review)
Palmer: Timberlake is Terrific in Touching Redemption Tale (Review)
Seeds of Deceit: Thought-Provoking Fertility Doctor Case Study (Sundance Review)
When We Were Bullies: Meandering Nostalgia (Sundance Review)
The Little Things: Retro Serial Killer Story Slays (Review)
Greyhound: Interview with the Artisans
Vitalina Varela: Wandering Through the Maze of Living (Review)
Two of Us: a Moving, Heartfelt Romance (Review)
The Dig: A Handsomely Mounted History Lesson (Review)
The Funeral Home: Stylish Horror Marks a Solid Debut (Review)
Euphoria: Second Special Episode is Schafer’s Shining Moment (Review)
La Llorona: Slow Burn, Great Visuals, No Scares (Review)
WandaVision: Now in Color Starts to Explore the Show’s Mystery (Ep. 3 Review)
Malcolm & Marie: Zendaya & Washington Wow as Couple in Chaos (Review)
Speaking Parts: Life Mediated Through Screens (Review)
Beautiful Boy: An Emotional Rollercoaster with No End In Sight (Review)
Atlantis: Post-war Realities with Sci-fi Elements (Review)
Baby Done: Dramatic Rom-Com Gets Serious (Review)
Lady Bird: A Film for All Ages (Review)
Our Friend: Affleck, Johnson, and Segel Shine in True Story (Review)
The Mole Agent: Charming Spy Underlines Social Injustice (Review)
Dick Johnson is Dead: A Profound Meditation on Legacy and Loss (Review)
The Exception (Undtagelsen): Visually Stylish, Narratively Messy (Review)
Identifying Features: Mexican Drama Led by Unique Ambitions (Review)
Clapboard Jungle: The Behind-The-Scenes You Don’t Normally See (Review)
WandaVision: Episodes 1 and 2, A Delightful Beginning (Review)
Carey Mulligan ’s Top 10 Best Performances
Acasa, My Home: Between the City and the Sky (Review)
All Scream Films Ranked (From Worst to Best)
Locked Down: A Flawed but Interesting COVID Time Capsule (Review)
Outside the Wire: A Pleasant Throwback to Trashy 90s Sci-Fi (Review)
The Marksman: Neeson’s Eastwoodian Drama is Derivative but Diverting (Review)
Battle in Space: The Armada Attacks – Action-packed Sci-Fi Anthology (Review)
Spoor: Agniezska Holland Goes Hunting for the Human Condition (Review)
Most Anticipated Movies of 2021 (By Month)
The Best TV Shows of 2020 (According to Us)
Black Bear: Plaza and Abbot Excel in Intriguing Indie (Review)
Imperial Blue Offers Realism and Fantasy in Unequal Doses (Review)
Dr Bird’s Advice for Sad Poets: Psychedelic Mastery (Review)
Bedlam: a Safari Through the US Psychiatric Jungle (Review)
Pietro Gagliano on dynamic Virtual Reality film “Agence” (Interview)
Deliver Us from Evil: An Absolute Pleasure for Action Fans (Review)
The 20 Best Films of 2020 (According to Us)
Lovecraft Country: The Horror and Drama of 1950s America (Review)
News of the World: Tom Hanks Western is Touching and Timely (Review)
A Discovery of Witches Season 2 Ep. 1-4: Diana and Matthew are Back (Review)
Alex Wheatle and Education: the Weaker Section of a Remarkable Series (Small Axe Review)
499: A Hypnotic Blend of Fact, Fiction, and History (Review)
Best of 2020: Our Individual Top Ten Lists
Soul: Pixar ’s Latest is an Epic and Emotional Look at Life Itself (Review)
Christmas 2020: 10 Films to Watch This Year
5+ Great Christmas Episodes from TV Shows
The Midnight Sky: Elegiac Astronaut Film Ascends (Review)
Wonder Woman 1984: Superhero Sequel is Earnest and Exhilarating (Review)
The Blackout: Invasion Earth – Tone-deaf Sci-fi Spectacle (Review)
The Mandalorian’s Season 2: Great Star Wars Has Become Iconic TV
Fatale: Hilary Swank Steals the Show in Twisted Thriller (Review)
Monster Hunter: Visually Arresting Action Epic Entertains (Review)
Climate of the Hunter: A Bizarre, Captivating Monster Flick (Review)
We Are Who We Are: Guadagnino’s Small Screen Self-Discoveries (Review)
The Flight Attendant: A Career-High for Kaley Cuoco (Review)
Greenland: Character Driven Disaster Movie Excites (Review)
Skylin3s: Madcap Action For Genre Movie Fans (Review)
Jojo’s Bizarre Adventure is the Perfect Quarantine Watch (Review)
Let Them All Talk: a Tremendous Improvisational Acting Showpiece (Review)
What to expect from Denis Villeneuve ’s Dune (Review)
‘The Crown’ Season 4: a Royal Upheaval of the Status Quo (Review)
Beasts Clawing At Straws: A Shark-Tattooed Debut (Review)
Promising Young Woman: Mulligan Mystifies in Scathing Social Screed (Review)
Days (Rizi): Embracing Stillness (Review)
The Godfather, Coda: The Death of Michael Corleone: A More Fitting End (Review)
Songbird: COVID-19’s First Film is an Innocuous, Glossy Horror Thriller (Review)
The Prom: The Star-Studded Musical Sensation of the Season (Review)
Ma Rainey’s Black Bottom: Boseman & Davis Will Blow Audiences Away (Review)
Wild Mountain Thyme: A Movie Lost to Time (Review)
Jodorowsky’s Dune (2013): The Mind-Bending Masterpiece That Never Was (Review)
My Darling Vivian: A Nuanced Portrait of Vivian Cash (Review)
Queer Japan: Strong Message Undermined by Lackluster Filmmaking (Review)
10 Reasons to Watch The Queen’s Gambit (and Learn the Game of Chess)
All My Life: A Conventional Tearjerker Carried by Committed Leads (Review)
Godmothered: Bell and Fisher Charm Despite a Weak Screenplay (Review)
Director Dana Nachman on “Dear Santa”: Hope for the Holidays (Interview)
Safe Spaces: The Importance of Shutting Up (Review)
Minor Premise: A Study of Psychological Suspense (Review)
Children of Dune (2003): The Saga of Dune is Far from Over (Review)
Cocoon: Delicate Coming-of-Age Story Follows a Familiar Path (Review)
Mank: The Finchers Take On Citizen Kane’s Origins (Review)
Dear Santa: USPS Christmas Spirit Remains Undefeated (Review)
November 2020: The Best Films of the Month
Superintelligence: McCarthy Deserves Better (Review)
6 Underseen Classic Genre Films
The Croods: A New Age: DreamWorks’ Stellar Sequel is a Delight (Review)
Thirst (2019): A Cult Classic in the Making (Review)
The End of the Storm Puts Personal Twist on Liverpool Title Run (Review)
Frank Herbert’s Dune (2000): The Triumph of Story (Review)
The Mandalorian Season 2 Episodes 1-4: This Is (Still) the Way
Hillbilly Elegy: Howard Crafts an Elegy to Nothing (Review)
A Teacher (Fx on Hulu): Reflections on Morality (Review)
The Ringmaster: Why Do We Find Entertainment in Suffering? (Review)
A Christmas Carol: A Radical Retelling of the Timeless Tale (Review)
Paranormal: A Stand-out New Show from Up-and-Coming Talent (Review)
10 More Feel-Good Films to Take Your Mind Off Covid-19
The Naked Island (1960): Islands, Ocean, and Emotional Comfort
The Princess Switch: Switched Again – Hudgens Elevates Christmas Trifle (Review)
7 Films to Introduce You to Arthouse Cinema
Operation Christmas Drop: Tropical Christmas Needs Snow (Review)
Embattled Fails to Grapple with the Spirit of MMA (Review)
Happiest Season: A Queer Christmas Comedy Classic (Review)
The Twentieth Century: Disruptive Debuts and Where To Find Them (Review)
Dune (1984): Imaginative Vision Lacks Satisfying Storytelling (Review)
A Brighter Summer Day: Defining the Taiwanese New Wave (Review)
All X-Men Movies Ranked (From Worst to Best)
Run: Sarah Paulson is Petrifying in Hulu’s Horror Thriller (Review)
The Gesture and the Word: It’s The Little Things That Count (Review)
All of Kelly Reichardt ’s films, ranked
Manos: The Hands of Fate – Worst Film Ever or Pure Genius?
Freaky: Brilliant Body Swap Slasher Comedy is a Blast (Review)
The Broken Hearts Gallery: Actresses Shine in Pleasant Romcom (Review)
Better Than the Book: 5 Good Books that Became Even Better Movies
The Life Ahead: Sophia Loren’s Radiant Return to Cinema (Review)
November: The Price of Love, the Price of a Soul (Review)
Force of Habit: a Claustrophobic Contour of the Female Gaze (Raindance Review)
The Nest: An Eerie Drama About a Dysfunctional Family (Review)
10 Underappreciated American Films
Stardust: A Bowie-Inspired, Bowie-Less Drama (Raindance Review)
Descent: A Free Dive into the Depth of the Human Mind (Raindance Review)
Let Him Go: Costner and Lane Wow In Tense Western Thriller (Review)
Nobody Sleeps in the Woods Tonight, Due to the Lunatics Running Around (Review)
Sublet: The Lessons We Learn From Strangers (Newfest Review)
Looted: Gritty Crime Debut is Touching, if a Little Bland (Review)
Jungleland: Jack O’Connell Brings True Grit to Boxing Tale (Review)
The Mystery of the Pink Flamingo: Inorganic Sexiness and How to Give In (Raindance Review)
Antarctica: a cynically comic high school drama (Raindance Review)
Proxima: Eva Green Excels in Compelling French Astronaut Drama (Review)
Lucky Grandma: Tsai Chin’s Crime Comedy is Charmingly Chaotic (Review)
Ronnie’s: For the Love of Jazz (Review)
Materna: a Female Portrait of the True New York Life (Raindance Review)
October 2020: The Best Films of the Month
The Craft: Legacy – Modern Teen Drama Featuring Witches (Review)
Wendy: As Beautiful a Mess Can Be (Review)
The Mandalorian: This Is the Way (to make Star Wars)
Halloween 2020: 10+ Films to Watch This Year
Holidate: Raunchy Romcom is Simultaneously Snarky and Sweet (Review)
Under the Open Sky: A Clouded and Bleak Japanese Drama (AFI Fest Review)
Non Western: Love, Conservatism and Modern Women (Raindance Review)
Apples: New Memories, New Lives (AFI Fest Review)
Song Without a Name: Gorgeous Historical Mystery Puts its Characters First (Review)
Smith: Local Crime Mystery is Worth Supporting (Indie Memphis 2020 Review)
Thaddeus’ Guide to Horror (For Beginners)
Hall: Timely Horror/Thriller is Beautifully Horrifying (Review)
Monsoon: A Smart Allegory for Vietnam’s Relationship with the West (NewFest Review)
All Halloween Films Ranked (From Worst to Best)
Borat: Subsequent Moviefilm – Brilliant Satire Returns at the Right Time (Review)
So Late So Soon: Art in the Face of Death (Indie Memphis 2020 Review)
Ratched: Terrific Psychological Drama Hits a Nerve (Review)
Over the Moon: Netflix’s Moving and Multicolored Musical is Magnificent (Review)
The Witches: a Perfectly Cromulent Take on Roald Dahl’s Classic (Review)
The Intruder: A Little Too Much Is Left to the Imagination (AFI Fest Review)
The Place of No Words: A Mystical Journey Towards Acceptance (Review)
Nuevo Orden: Stimulating But Divisive Story of A Dystopian Mexico (AFI Fest Review)
Love and Monsters: A Peppy Post-Apocalyptic Story With Spunk and Soul (Review)
La Lutte des Classes: A Marxist Guide For Children (Review)
Rebecca: Modern Update Lacks Flair of Hitchcock’s Masterpiece (Review)
Shadow in the Cloud: Deliriously Dopey Genre Fun (AFI Fest Review)
Collective: Timely Documentary Rewards Patient Viewers (AFI Fest Review)
After Love: a Film about Love and Revelations Distanced by the Channel (LFF Review)
I Am (Everything You Already Knew About) Greta (Review)
The Best Debuts by Actors-Turned-Directors
The Trial of the Chicago 7: Inspiring Political Mythology (Review)
Synchronic: Time Travel and the Search for Human Connection (Review)
Bloody Nose, Empty Pockets is a Loving Tribute to Small-Town Bars (Review)
American Thief: a Muddled Narrative Overshadows Some Good Ideas (Indie Memphis 2020 Review)
A Call to Spy: a Feminist WWII Spy Film that has a Lot More to Tell than is Shown (Review)
Ammonite: A Story Of Opposites Told Best By Hands (LFF Review)
Nocturne: Beautiful Visuals Accompany Two Prodigy Sisters (Review)
Honest Thief: Liam Neeson ’s Latest Thriller Plays to the Star’s Strengths (Review)
Rose: A Love Story – A Dark and Tender Romance Challenged By Illness (LFF Review)
The Forty-Year-Old Version: A Bold, Witty Debut, Despite Its Stumbles (Review)
Belushi: a Moving, Textured Portrait of the Beloved Comedic Actor (AFI Fest Review)
Nine Days: A Stunning Investigation on Life (AFI Fest Review)
Sound of Metal: The Beauty of Silence (AFI Fest Review)
Evil Eye: A Dubious Boyfriend and a Misleading Marketing Campaign (Review)
The Old Ways: Folk Elements Keep an Uneven Horror Film Interesting (Review)
Oscar Wilde ’s Top Three Favourite Films, as Envisioned By Us
Shiva Baby: A Short Film’s Evolution Into One of The Year’s Best Indies (Indie Memphis 2020 Review)
Cicada: A Tender Love Story Bolstered by Authentic Performances (NewFest Review)
Limbo: An Ode to A Past Identity (LFF Review)
Writer-Director-Actor Cooper Raiff on Feature Debut Shithouse (Interview)
<