M.O.D.O.K. – Hulu’s Marvel supervillain comedy – delivers its fair share of memorable gags, but blending heart and humor proves trickier.
Author: Douglas Laman
This Brian Tyree Henry vehicle gets a lot of mileage out of being cozy and casual.
A biopic about an automobile designer takes on greater weight when filtered through the life of Francis Ford Coppola.
We break down our picks for this year’s Academy Awards.
The Disney+ original has tired jokes and an even more forgettable performance from John Stamos.
This 1997 romantic drama embodies the outstanding atmospheric qualities of Wong Kar-wai’s body of work.
Udo Kier gets a lovely late-career showcase, and Leah Purcell directs a brustling but unfocused feminist Western.
COVID-separated relationships and sociopathic actors mark SXSW’s latest crop of narrative spotlight features.
Two old flames reuniting, a harried nursing home worker, and Dante Basco’s family affair mark SXSW’s Narrative Spotlight.
Though the episodes can get samey, Last Chance U: Basketball works well enough to charm even basketball novices.
Even beyond its handling of its autistic character, “Music” is a terribly constructed film.
Giddy on up with Cowboys and its unique take on the hallmarks of the Western genre.
This documentary series gives short thrift to its adolescent athletes, much to its own detriment.
Empathetic, well-crafted filmmaking makes this profile on the specificities of autistic life both heartwarming and essential in its outreach.
Ryan White’s documentary examines the two women who killed Kim Jong-un’s brother, and the complex web of lies and deceptions that got them to do it.
Despite Drew Barrymore’s efforts, But I’m a Cheerleader director Jamie Babbit delivers an out-of-touch showbiz satire.
Kathryn Bigelow’s directorial debut has its standout elements but is overall too detached for its own good.
A cross-country book tour is the backdrop for an engrossing doc about coping with the loss of a loved one.