The Franchise doesn’t know when to quit
MAX’s satirical look at the business of superhero films can’t stop telling the same jokes.
MAX’s satirical look at the business of superhero films can’t stop telling the same jokes.
While it’s patently hungry for awards, Melissa McCarthy’s biopic of infamous letter forger Lee Israel is compelling and darkly accessible, with some great supporting turns from Richard E Grant and Jane Curtin. This piece was originally posted on Alcohollywood Oscar baiting: we know it when we see it, and Can You Ever Forgive Me? is … Can You Ever Forgive Me? Review: Melissa McCarthy Compels in Awards-Hungry Journalism Drama
A24’s new horror comedy is a film at war with itself, undercutting its ability to be a gonzo dark comedy and a look at a fracture father-daughter bond.
Shedding much of Season 2’s sadism, the Prime series—and its hero—delivers a world of moral clarity where “true” justice can be found.
A few dollops of pure absurdity aren’t enough filling to overpower Jerry Seinfeld’s mean-hearted, sour comedy pastry’s chalky taste.
Steven Zaillian crafts a methodical, darkly funny adaptation of the Patricia Highsmith novel, with Andrew Scott at his chilly best.
Past Lives, The Giant Gila Monster, Poker Face and More!
Like Nick Fury himself, the MCU’s newest series limps out of the gate in “Resurrection.”
Eva Longoria’s directorial debut is solidly made but glosses over the interesting and thorny parts of its story in favor of a glossy ad for Cheetos.
Paul Schrader’s latest “God’s lonely man” tale wants to say something about race & redemption, but misses the mark.
McAvoy approaches the superpowered Kevin Wendell Crumb and his alters with care and empathy, overcoming sketchy psychology.
Mariner reckons with her place in Starfleet and her family as a special mission and visit from a reporter keep the Cerritos on its toes.
Offering classics to slashers to B-horror to genuine obscurities, the best streaming channel you’re not watching has something for everyone this Halloween season.
Dumbed down doesn’t even begin to describe this disastrous treatment of arguably one of Jane Austen’s best novels.
From Soderbergh’s steamy thriller to Australian stunt mockumentaries, Kino Lorber’s recent offerings help you beat the heat.
While it’s a neat showcase for Eugenio Derbez, Hulu’s latest is more amiable than truly amusing.
Campion followed The Piano with a Henry James adaptation dedicated to the magnificently fraught question of desire or duty.
This year’s best in TV took us from the furthest reaches of space to murder mysteries in small Philly towns.
This look at Smith’s filmmaking trajectory doesn’t delve deep, but it certainly isn’t a Cop Out either.
The artists at Aardman deliver another winner with this tale about a clumsy robin.