Jay Baruchel’s adaptation of the 2010 comic is an ugly attempt at social commentary that lacks irony or emotion.
10 years later, Edgar Wright’s comic adaptation lingers for its bevy of influences as much as its originality.
Hans Petter Moland’s adaptation of Per Petterson’s novel is a sensual look at growing up, but it’s more inert than introspective.
Marc Munden’s adaptation of the Frances Hodgson Burnett novel is too myopic to fully bloom, but it has just enough flourishes to work.
Joel Schumacher’s second John Grisham adaptation is a myopic look at race and the criminal justice system in the American South.
It’s good, but Anthony Minghella’s 1999 adaptation really comes alive when Philip Seymour Hoffman’s scumbag enters the picture.
Finally out from under the shadow of its filmic inspiration, the Amazon series treads new ground in its second season.
Both tactile and ethereal, Gus Van Sant’s skateboarding drama saw him expand upon his neorealist work that spanned the 2000s.
Barbara Białowąs & Tomasz Mandes’ erotic drama has a truly gross premise and oodles of bad acting to leave you hot and bothered—or just bothered.
The adaptation of the first in Eoin Colfer’s series is alarmingly messy for a project that’s been in the works for almost two decades.
Far from good but definitely not boring, Frank Marshall’s adaptation of Michael Crichton’s novel is a sick day viewing that deserves its due.
Stephen Frears’ new miniseries is a deft three episodes that shifts perspectives and plots with ease, even if it doesn’t completely pay off.
Derek Cianfrance’s new miniseries avoids pitfalls with well-rounded characters and two terrific performances from Mark Ruffalo.
Coky Giedroyc’s adaptation of Caitlin Moran’s novel is a sharp comedy that gives Beanie Feldstein even more room to prove her talents.
Despite a solid supporting cast, Clark Duke’s debut is a small-scale caper with that doesn’t have the attention span to ever truly work.
Crystal Moselle adapts her 2018 indie into an HBO show, bringing the original cast along for the ride.
Newly restored in 4K by Indiecollect and released by Kino Lorber, Nancy Kelly’s 1991 western softly explores racial and gender-based oppression in late-1800s America.
Justin Kurzel puts manhood, infamous 1800s criminals, and the first feature film ever made into a bushranging blender.