Maggie Moore(s) has plenty of talent, needs mo(o)re execution
The dark comedy squanders skilled performers on serviceable laughs.
The dark comedy squanders skilled performers on serviceable laughs.
Maggie Q gets a down and dirty action vehicle that doesn’t reinvent the lady-assassin wheel but has plenty of fun along the way.
Tensions between her lover and her business partner force Liza to walk a tight-rope.
From martial arts classics to 4Ks of acclaimed indies, here are a few options from the imprint’s latest sale.
After catching Lisa Frankenstein this weekend, check out some of these weird & wild spins on the legendary tale.
A dynamic acting duo excel in the courtroom.
Rebecca Miller writes and directs a perplexing but never boring comedy about a composer with a devastating case of writer’s block.
Homeward Bound but raunchy squanders the writer and the director’s talents.
Ben Wheatley’s debut film rejects cool attitude and snappy dialogue to tell a working-class tale of crime.
The follow-up to 2019’s Good Omens is more confident & streamlined & retains what worked before & loses what didn’t. Mostly.
The composer breaks down his Carpenter-inspired score for the Walking Dead spinoff.
Build your collection with some (or all!) of these titles, coming to stores in June.
From music docs to actors directing to the first time, Tribeca 2023 has plenty of exciting new films to offer. Here are some of our faves.
Shyamalan’s latest and a couple of Criterions about female bonds at different ages highlight this month’s new physical media releases.
Chloë Grace Moretz leads a murderer’s row of talented performers in a solid (if frustratingly simplified) adaptation of science fiction master William Gibson’s 2014 novel.
Mostly stagnant direction trips up an otherwise decent woman of war, played with intensity by Allison Janney.
Chris Estrada’s semi-autobiographical dramedy pairs likable characters with the endearing specificities of Mexican-American life.
Maggie Gyllenhaal makes a confident writing/directorial debut in an unsettling but empathetic drama about two women on vacation with all too much in common.
The composer talks about building a retro ’60s sound for Maggie Gyllanhaal’s haunting directorial debut.
Pablo Larraín’s sympathetic “fable” about Diana, Princess of Wales, also compassionately addresses the secret shame of eating disorders.