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WandaVision: Episodes 1 and 2, A Delightful Beginning (Review)
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Most Anticipated Movies of 2021 (By Month)
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Dr Bird’s Advice for Sad Poets: Psychedelic Mastery (Review)
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News of the World: Tom Hanks Western is Touching and Timely (Review)
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Films
TV
Reviews
Film Festivals
Interviews
Focus On
Virtual Reality
Awards & Events
News
Win
About
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: 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)
(NewFest 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)
(LFF Review)
Writer-Director-Actor Cooper Raiff on Feature Debut Shithouse (Interview)
Wildfire: a Slightly Allegoric Tale of (Northern) Ireland’s Traumatic Past
(LFF Review)
A Common Crime (Un Crimen Común): a Political Drama Disguised as a Thriller
(LFF Review)
On The Silver Globe, a Movie Devoid of Daleks
The Reason I Jump: a Sensorial Experience about Non-Verbal Autism
(LFF Review)
Shithouse: Loneliness and Unexpected Connections (Review)
Minari: A Beautiful Family Drama Steeped in Detail (Review)
French Exit: Michelle Pfeiffer Shines in a Surrealist Comedy (NYFF Review)
Black Box: Compelling Sci-Fi Supported by a Strong Cast (Review)
Chess of the Wind: Rediscovered Iranian Drama is a Revelation (LFF Review)
Undine: A Smart and Intoxicating Mythic Romance (LFF Review)
I Carry You with Me: a Deeply Moving Immigrant Love Story (Review)
Time: Delicately Made Documentary Beautifully Balances Hurting with Hope
(LFF Review)
Supernova: Firth and Tucci Shine, But the Fireworks Do Not Go Off (LFF Review)
Farewell Amor: “So We Danced” (LFF Review)
Honeymood: What it Means to Be in Love with Someone, and with Yourself
(LFF Review)
Spontaneous: Teen Comedy is Unexpectedly Terrific (Review)
Herself: Dublin’s Heartfelt Story of Emancipation and Humanity (LFF Review)
180 Degree Rule: A Somewhat Predictable Yet Darkly Compelling Debut
(LFF Review)
The Lie: How far would you go to protect your family? (Review)
The Painter and the Thief explores the Strange Places Inspiration Leads Us
(LFF Review)
Small Axe: Steve McQueen’s Remarkable Achievement (Review)
Mogul Mowgli: Riz Ahmed Excels, but the Film Stumbles (Review)
Saint Maud: The Newest Soon-to-Be-Polarizing Addition to Arthouse Horror (Review)
The Town of Headcounts (Ninzu No Machi) is the Best Dystopian Drama You’ll See This Year
(VIFF Review)
Wolfwalkers: A Fantastical Folk Tale Full of Heart and Humanity (Review)
Virtual Film Festivals: A Conversation
District 9: Still Poignant and Depressingly Relevant Eleven Years Later
(Review)
The Boys in the Band: An Affecting Adaptation of the Acclaimed LGBTQ+ Play
(Review)
Kajillionaire: A Strange Yet Sweetly Sensitive Study of Toxic Familial Ties (Review)
September 2020: The Best Films of the Month
The Glorias: 2020’s Second Best Gloria Steinem Story (Review)
Enyedi’s My Twentieth Century and My Analogical Bat-Signal
MLK/FBI: One of the Year’s Best, Most Essential Docs (NYFF58 Review)
Waikiki: A Psychedelic Exploration of Trauma and Cultural Survival
(Review)
Rialto: A Dour, Mid-Life Crisis Film Carried by its Leads (Review)
On the Rocks: Sofia Coppola’s Caper Comedy is Classically Charming
(NYFF Review)
LX 2048: Sci-fi Thriller Can’t Be Saved by a Capable Lead Performance
(Review)
Enola Holmes: A Lively Adaptation That Has Something for Everyone to Enjoy
(Review)
Howl’s Moving Castle: A Dazzling Animated Adventure for Grown-Ups (Review)
This is England: A Coming of Age Story of Identity, Belonging and Redemption
(Review)
The Hobbit & Lord of the Rings Trilogies, Ranked
2020 Emmy Awards: The Full List of Winners
The Way I See It: A Look at Two Presidencies Through Pete Souza’s Lens (Review)
Antebellum: Immense Potential With A Disappointing Outcome (Review)
Lost in London: Fantastic Technical Achievement Tied to a Cliché Story (Review)
Spiral: Rudimentary Social Horror With A Great Leading Turn (Review)
Pieces of a Woman: Vanessa Kirby Shines as the Film Flounders (Review)
Summer of 85 (Été 85): Raw, Wise and Heart-Wrenchingly Good (Review)
The Palace on the Sea: A Poignant Look at Life After Death
(Taiwan Film Festival Edinburgh)
The Father: Hopkins Ages Like a Nice Chianti (Review)
I’ve Got Issues: Dark Comedy Heart with a Gentler Soul (Review)
White Riot: An Energetic, Rebellious Documentary About Punk Versus Racism
(Review)
The Devil All The Time: Slow-Burning, Gothic Crime Drama Achieves Greatness At The End
(Review)
Where the Seagull Flies: Conventional Melodrama Doesn’t Take Off
(Taiwan Film Festival Edinburgh)
Another Round (Druk): A Boozy Joy Highlighted By A Splendid Mads Mikkelsen
(Review)
One Night in Miami: “It’s Been A Long Time Coming, But A Change Is Gonna Come” (Review)
The Bay of Silence: A Thriller With Payoff, But Not Enough Setup (Review)
Akilla’s Escape: Classic Noir Style Melds Beautifully with Modern Themes (Review)
Penguin Bloom: Naomi Watts elevates a formulaic drama (Review)
Nomadland: Frances McDormand Anchors an American Odyssey for the Ages (Review)
Genus Pan (Lahi, Hayop): Looking Back to Find Ourselves (Review)
The Bride Who Has Returned From Hell: An Entertaining Yet Flawed Drama
(Taiwan Film Festival Edinburgh)
Six Suspects: A Melodramatic Murder Mystery that Delivers All the Genre Tropes
(Taiwan Film Festival Edinburgh)
Unpregnant: Female-Led Road Trip Comedy is Touching, Timely, and Terrific
(Review)
The Book of Vision: Sincere but Reductive (Venice Film Festival Review)
Get the Hell Out: A Riotous, Albeit Unfocused Zombie Comedy (TIFF 2020 Review)
Sons of Denmark: A Provocative Political Thriller and an Urgent Warning (Review)
A City Called Dragon: A Solid, Crowd-Pleasing Wuxia Thriller
(Taiwan Film Festival Edinburgh)
Mainstream: “No-One-Special” To Fill Up Your Life (Review)
Buoyancy: A Thrilling Drama on Thailand’s Human Trafficking Industry (Review)
Ice Poison: A Desperate Life on the Edge of Poverty (Taiwan Film Festival Edinburgh)
The Hot Zone: A Contagiously Gripping Science Thriller (Review)
Rent-A-Pal: A Bizarre Look Into Loneliness (Review)
Nocturnal: A profound Portrait of Fragility (Review)
Pacific Rim: Proving There is a Place for Kaiju Films in Western Cinema
Bacurau: a gripping Western Parody with All the Good and Bad Elements of Brazil’s Society
I’m Thinking of Ending Things: Charlie Kaufman’s Latest Is Cryptic Yet Captivating
(Review)
Mulan (2020): Honorable Adaptation Misses the Mark (Review)
Get Duked!: Scotland’s Version of “The Hunt” Brings the Laughs (Review)
A Kid Like Jake: Tepid Family Drama Lacks Direction (Review)
Waiting for the Barbarians: Mark Rylance Excels in Poignant Drama (Review)
August 2020: The Best Films of the Month
The Exigency: Cinematic Passion Shines Through Inferior Animation (Review)
The New Mutants: Not worth the Wait After Three Years of Development Hell
(Review)
Chadwick Boseman: A Conversation
Bill & Ted Face the Music: Another ‘Most Triumphant’ Trek Through Time
(Review)
The Binge: Yet Another Teen Movie (Review)
Tenet: Christopher Nolan’s Time-Bending Thriller is Magnificent (Review)
Actor-turned-director Francesco Giannini on Pandemic Feature “Hall” (Interview)
Away: A Compelling Animated Survival Story (Review)
System Crasher: Lightly Denting the System (Review)
Epicentro: A Dense Documentary With a Lot to Say (Review)
Ruben Pla on The Horror Crowd: An Invitation into the Macabre Community (Interview)
Hidden Away (Volevo Nascondermi): How to Call Ourselves Living Things (Review)
The Sleepover: Spy Kids 2020 is a Blasé Disappointment (Review)
Chemical Hearts: Teen Melodrama Connects Thanks to Great Leads (Review)
Unhinged: Russell Crowe’s Raucous Road Rage Thriller Terrifies (Review)
The One and Only Ivan Struggles to Walk the Tightrope of Drama and Wonder
(Review)
Words on Bathroom Walls: Love, Schizophrenia & Teenage Wisdom (Review)
Ava: Intimate Family Drama Lacks Dynamism but Tackles Worthy Subjects
(Review)
Random Acts of Violence: Ambitious but Flawed Horror Is Catnip for Gorehounds
(Review)
TIFF 2020: 20 Films to Watch at the Toronto International Film Festival
Tesla: An Unconventional Biopic With Little Spark (Review)
Jallikattu: Visceral Thriller Explores the Brutality of Man (Review)
The Morning Show: A Tremendous Take on Today’s #MeToo Movement (Review)
Boys State: The Case For and Against the Future of American Politics (Review)
Project Power: Bland Superhero Drama Fails to Thrill (Review)
The Great Gatsby: An Iconic Narrative in Baz Luhrmann’s Signature Style (Review)
The Tax Collector: LaBeouf is Great, the Film is Not (Review)
Every Episode of The Legend of Korra Ranked from Worst to Best
An American Pickle: Effective Dramedy Showcases Rogen’s Talents (Review)
The Secret Garden: Gunfire and Birdsong (Review)
37 Seconds: A Heartwarming Journey of Self-Discovery (Review)
You’ve Been Trumped Too: A Brave Investigation On Politics, Power and Greed (Review)
Bill & Ted: An Excellent and Ageless Adventure
Sunrise: A Song of Two Humans (1927) – Hollywood’s Shining Moment in A Forgotten Era
(Review)
Howard: Honoring the Legacy of Disney’s Legendary Lyricist (Review)
The Best Films of 2020 (So Far)
Perfect 10: A Breezy, Middle-Class Twist on the Teen Crime Drama (Review)
5 Iconic Things We’ll Never Forget About The Good Place
Yes, God, Yes: Short Film Narrative In Feature-Length Time (Review)
The Eclectic and the Sublime: In Celebration of Ennio Morricone
Keisuke Kinoshita ’s 5 Best Films
Margot Robbie ’s Top 10 Best Performances
I Used to Go Here: Life at its Most Authentic (Review)
She Dies Tomorrow: A Compelling Pandemic of Existential Dread (Review)
The Way Back: Ben Affleck’s Career Best Performance (Review)
Peripheral: Psychedelic Paranoia meets Tech Body Horror (Review)
Miss Americana: Taylor Swift Sheds Her Secrecy and Shares Her Story (Review)
All Alien Films Ranked (From Worst to Best)
The Hater: Overbreadth and Inconsistent Tone Sink a Good Premise (Review)
Our Favourite Christopher Nolan Films
Cold War: An Epic Romance on a Small Scale (Review)
Red Penguins: How American Capitalism Tried to Infiltrate Russian Hockey (Review)
Unbelievable: Seriously uncomfortable, and rightly so (Review)
July 2020: The Best Films of the Month
Circus of Books: An Endearing Family Saga and a Feat of Cultural Nostalgia (Review)
“Once Upon a Time in Hollywood”: One Year Later
“Bill & Ted Face the Music” Crashes Comic Con @ Home
The Rifleman: Previously Banned WWI True Story Successfully Captures the Intensity of War
(Review)
The Kissing Booth 2: A Surprisingly Improved Sequel (Review)
Radioactive: Poor Writing Stops the Film from Glowing (Review)
Mulan: A Flawless Feminist Fable That Stands the Test of Time
(Review)
Comic-Con@Home: All The New Movie & TV Trailers (SDCC 2020)
Seven reasons to love The Umbrella Academy
Our Favourite Joel Schumacher Films
Miss Juneteenth: “Looks Ain’t Enough to Survive” (Review)
2021 Oscar Contenders Post-COVID: Oscars Preview Part III
Euphoria: A Deep Dive into the Darkness of American Adolescence (Review)
The Spook Who Sat by the Door: Revolution in Action (Review)
The Outpost: an Excellent War Film Elevated by Smart Direction (Review)
First Cow: A Minimalist Frontier (Review)
The Boat People: A Filipino Post-Apocalyptic Fantasy (Review)
Fatal Affair: Netflix’s Lifetime Movie is a Bumbling Mess of Bad Writing (Review)
Inception: Nolan’s Engrossing and Enigmatic Epic Endures
(Review)
10 Deliciously Bad Films Worth Your Interest
Rebuilding Paradise: Ron Howard’s Crisp Next Step as a Documentarian (Review)
The Goldfinch: An Adaptation that Failed to Take Flight (Review)
An Elephant Sitting Still: A Masterclass in Despair (Review)
2021 Oscars: Contenders at the Halfway Point (Oscar Preview Part II)
The Painted Bird: Torture Porn for Intellectuals (Review)
The End Of The F***ing World ‘s Season 2: Rebellious Teenagers Facing Adult Problems
(Review)
“Arthur & Merlin: Knights of Camelot”: A Return to the Myth’s Origins (with some hesitation)
House of Hummingbird: Poetry in Motion (Review)
Love Sarah: No Sarah, but Plenty of Love (Review)
The Old Guard: Humanity Elevates Comic Book Action (Review)
Palm Springs: The Terrific “Time Loop” Comedy for the Troubles of Today (Review)
Greyhound: Lean WWII Thriller Excites with a Detail Oriented Approach (Review)
Ghostbusters: A Blockbuster Blend of Horror and Hilarity
Don’t F**K With Cats: There’s No Such Thing as a Fair Trial Online (Review)
Masters of Love: A Refreshing Take on Recognizable Rom-Com Tropes (Review)
Guest of Honour: An Entertaining yet Messy Exploration of Family (Review)
Succession: The Kardashians Meet Shakespeare (Review)
Oscars Preview Part I: The Academy’s New Landscape
Albert Shin on “Disappearance at Clifton Hill”: A Love Letter to Niagara Falls (Interview)
Relic: Australian Indie Horror Disguised as a Family Drama (Review)
Disappearance at Clifton Hill: A Mesmerizing, Mind-Bending Mystery (Review)
Hanagatami: Nobuhiko Obayashi’s Cinematic Testament Mesmerizes Audiences
(Review)
Little Girl: This Film Should Not Have Been Made (Review)
Inheritance: A Privileged Life Tainted by a Shocking Secret (Review)
Hamilton: the Most Magical Thing on Disney+ (Review)
Queen Sono: Netflix’s first South African Series Captivates with Authenticity
(Review)
Desperados: Lazy Netflix Comedy Fails to Entertain (Review)
Minions: From Silly, Simple-Minded Sidekicks to Spin-Off Sensations
Treasure in Trash: The Value of Bad Films
Saint Frances: “You Can Have Faith in People Too” (Review)
Mighty Oak: One Rocker Goes, Here Comes Another (Review)
A White, White Day: How Ghosts Still Echo (Review)
Family Romance LLC: A Tantalizing yet Flawed Exploration of the Everyday
(Review)
Roger Waters: Us + Them: Psychedelic Rock Fans Rejoice! (Review)
What We Do in The Shadows: a Sitcom that Just so Happens to be about Vampires (Review)
Skyman: ‘Close Encounters’ for Found Footage Fans (Review)
Last and First Men: A Chilly Facade and an Intriguing History (Review)
Irresistible: Jon Stewart’s Scathing, Sharp-Witted Satire Soars (Review)
Eurovision Song Contest: The Story of Fire Saga: A Surprisingly Kind, Good-Hearted Comedy
(Review)
Dreambuilders: A Magical Adventure in the Hidden World Behind our Dreams
(Review)
My Spy: Dave Bautista Shines in a Messy Family Comedy (Review)
Top Gun (1986): Pure Pop Culture Phenomenon or Pro-War Propaganda?
(Review)
5 Films That Challenge Racism
Mr Jones: a Messy, Well-Acted Journalistic Thriller (Review)
Fanny Lye Deliver’d: Kind of Clever, but Ultimately a Bit Weird (Review)
Anthropocene: The Human Epoch – How humans are changing the Earth’s face for the worst
(Review)
The 5 Worst Book Adaptations in Film History
Dark: What Sets Netflix’s TV Series Apart (Review)
7500: “Phone Booth” on a Plane is Tense and Fun (Review)
Dads: Howard’s Cute Doc Led Me to Mull My Own Role as a Dad
Our Favourite Father Figures in Film and TV
The Girl with a Bracelet: Smart French Legal Drama Focuses on the Details (Review)
You Should Have Left: Keep Away From This Kevin Bacon Thriller (Review)
Wasp Network: the Cover is Blown on this Tepid Spy Tale (Review)
How Pixar’s Pete Docter Analyzes the Anxieties of Aging Through Art
(Profile)
Little Joe: A Cold and Lifeless Bio-Thriller (Review)
Jaws: Hollywood’s Greatest Shark Movie (Review)
Bull: Rob Morgan’s Excellent Performance Makes Bull Riding Drama Come Alive
(Review)
Film Distribution after COVID: Theaters in Limbo and Digital Film Festivals
The Ground Beneath My Feet: Witnessing the Woes of the Modern-Day Working Woman
Babyteeth: A Devastatingly Honest, Surprisingly Fun Coming-of-Age Cancer Drama
(Review)
Becky: A Breezy but Bloody Brawl with a Brutal Bag of Tricks (Review)
Gone With The Wind vs HBO: When the Artwork Becomes the Perfect Scapegoat
Da 5 Bloods: Spike Lee Entertains and Educates in a Harrowing History Lesson
(Review)
Artemis Fowl: Dismal Disney+ Drop Disappoints (Review)
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