The director of House of Flying Daggers and Hero drains the color from a Shakespearean take of double identities to crisply symbolic effect.
Keiichi Hara’s candy-colored fairy tale is certainly a feast for the eyes, even if its story is skin deep.
Nietzchka Keene’s adaptation of the Grimm fairy tale is a haunting black-and-white showcase for Björk.
The Wachowskis’ last theatrical film to date — a space opera with Channing Tatum as a roller-skating wolf man — is one of their most ambitiously corny efforts yet.
Howl’s Moving Castle, Hayao Miyazaki’s sprawling, mythic steampunk fantasy from 2004, is one of the master’s more underrated features.
Looking back on the final season of HBO’s hit show, it’s impossible not to see the many ways the showrunners let down their story and the characters in it.
Divisive though it (and the final season) may have been, Game of Thrones’ final episode course-corrects in some satisfying ways.
The Mad Queen rears her fire-breathing head in a visually stunning, but narratively baffling penultimate episode.
While it doesn’t have the reputation of Miyazaki’s later works, Studio Ghibli’s sophomore film serves as a lovely steampunk primer to the man’s filmography.
Middle-earth or middle-of-the-road? Dome Karukoski’s take on the Lord of the Rings author’s early life doesn’t even try to break the biopic mold.
Westeros finds itself divided on who should lead it, in a frustrating feature-length episode that walks back vital character development.
The war between the living and the dead reaches its apex in the long-awaited, but fairly boilerplate, climax of Game of Thrones.
The MCU reaches a climax of sorts with the ambitious, three-hour Endgame, a satisifying end to the 11-year Marvel mythos to date.
Brienne gets knighted, Arya checks something off her bucket list, and Dany reckons with Jon’s parentage in another leadup to Game of Thrones’ big battle.
With “Winterfell”, Game of Thrones starts its final season with a reorienting premiere, complicating alliances and setting up conflicts.
C2E2 2019 kicks off in earnest with panels on black horror, graphic novels and SF, as well as a glimmering, Vegas-style showcase from John Barrowman.
Tim Burton’s last great film was a mythic tall tale that anchored his dark whimsy in something more sentimental and moving.
Lisa Brühlmann’s Swiss coming-of-age mermaid tale is admirably shot and performed, but inadvertently hews too closely to similar […]