Maria Finitzo’s documentary celebrates female sexuality in all its varied forms.
Cathryne Czubek & Hugo Perez’s endearing doc about Ugandan filmmaking group Wakaliwood is both accessible and specific.
Claire Oakley’s feature debut blurs the line between supernatural dread and human drama to make for a quiet […]
Alex Lee Moyer’s documentary on the rise of incels doesn’t quite unlock what makes them so angry and dissatisfied.
Karen Bernstein’s doc about the gender-fluid journey of Brian Belovitch is a deep well of empathy.
The temporary shutdown of public life that’s happening amid global coronavirus conditions has led to a standstill at the box office.
Lynn Chen’s debut is an achingly honest tale of lost time and potential.
Mary Mazzio’s inspirational sports doc is as empowering as it is occasionally muddled.
With Pixar having one of their lowest openings yet, the box office experienced one of the worst weekends for this time of year in over a decade.
A $29 million take spells success for the low-budget Universal horror film, proof that the Blumhouse model works.
The kid-friendly video game movie keeps pace with a $26 million second weekend, staying ahead of Harrison Ford and his dog.
Everyone’s favorite talking hedgehog burns up a $57 million opening weekend at the box office, while Birds of Prey experiences the typical second-weekend slump.
Aardman is back with another charming children’s romp in the Shaun the Sheep series.
Despite solid reviews, DC’s latest putting Harley Quinn front & center struggles to find an audience.
Bad Boys for Life finds itself atop the charts yet again while Oz Perkins’ horror fairytale fails to crack the top three over the Super Bowl weekend.
Will Smith & Martin Lawrence beat Guy Ritchie’s latest handily in a robust-for-January weekend.
The critically blasted “Dolittle” follows “Cats” as another flop for Universal while audiences turn out for Will Smith & Martin Lawrence.
A limp. microbudget Texas actioner that gives whole new meaning to the term “lone-star state.”