Jeff Wadlow’s adaptation of the late-’70s TV show is a thrill-free getaway that only entertains when it goes from generic to incoherent.
Tensions between her lover and her business partner force Liza to walk a tight-rope.
Netflix and producer Pablo Larraín offers a modest glimpse of quarantine life that can’t escape the privilege of its authors.
Ani Simon-Kennedy’s sophomore feature is a quiet, evocative trip, even if it doesn’t go as far as it could have.
Tracee Ellis Ross and Dakota Johnson have killer chemistry in a sunny if formulaic music dramedy.
Martha Stephens’ sumptuous queer coming-of-age drama highlights the restrictive pain of societal repression.
The eagerly-awaited third season of Netflix’s award-winning drama amps up the paranoia and deceit.
Netflix breathes new life into the tired stand-up comedian sitcom genre.
Jonathan Demme’s sleazy but interesting feature debut tried to put a new spin on the women in prison genre.
NBC’s newest musical sitcom uses bundles of energy to wallpaper over the cracks in its premise.
Despite getting off on the wrong foot, Sam Mendes’s oft-forgotten dramedy remains a salient look at 2000s anxieties as often seen onscreen.
Martin Scorsese’s 2002 historical drama is big, brassy and full of great performances, but its runtime and tone leave it unfocused.
Amazon’s star-studded anthology series is so gentle, pleasant and inoffensive it ceases to resemble actual relationships.
Waistcoats and pageantry rule the day at the box office, while Brad Pitt’s cerebral sci-fi drama Ad Astra puts on a respectable showing.
The company is hit hard in the wake of Liza’s “outing”.
Liza’s secrets are laid out for the world to see thanks to Charles’ vengeful ex-wife.
The rivalry between Millennial and Mercury may be over, but the friction has only just begun.
A drug-infused weekend retreat brings resolution for Charles and uncertainty for Liza.