Ryan Murphy’s latest show for Netflix is a glitzy alternate history that gives power to the marginalized.
Julian Fellowes brings his Downton Abbey sensibilities to this warm, comforting costume piece.
Amazon’s adaptation of the Agatha Christie mystery The Pale Horse (one of the author’s final works) keeps her innate spirit for intrigue.
The director of Wild Rose and The Aeronauts sits down to talk about his high-flying historical adventure, now available on Amazon Prime Video.
Greta Gerwig’s adaptation of the Louisa May Alcott book is sensitive, challenging, and earnestly engages with the source material.
Despite the ridiculous concept and uneven tone, Apple TV+’s new comedy is a compelling watch.
Waistcoats and pageantry rule the day at the box office, while Brad Pitt’s cerebral sci-fi drama Ad Astra puts on a respectable showing.
Chanya Button’s tale of the romance between Vita Sackville-West and Virginia Woolf is a little too slapdash to address its myriad concerns.
Quentin Tarantino’s ninth film is a sun-soaked return to his roots, an energetic elegy for Old Hollywood that plays fast and loose with its history.
The director of House of Flying Daggers and Hero drains the color from a Shakespearean take of double identities to crisply symbolic effect.
Céline Sciamma’s queer period romance is an intimate visual feast, filled with uncanny empathy and admirable aesthetics.
Kenneth Branagh furthers his adoration for William Shakespeare by directing and starring in this free-wheeling biopic of the Bard’s final years.
Ralph Fiennes’ tale of real-life Russian dancer and defector Rudolph Nureyev is stylish enough but fails to slip deeply into its’ characters ballet flats.
Five years on, Ava DuVernay’s gripping account of the march from Selma to Washington stresses that MLK’s fight is far from over today.
Suranne Jones captivates as historical feminist and lesbian Anne Lister in a messy, but insightful HBO miniseries that overcomes its own stylistic crutches.
Molly Shannon and Amy Seimetz shine in this warm, tender, humanizing portrayal of the famously enigmatic poet.
Solid lead performances are little compensation for more feel-good “can’t we all just get along?” Oscar bait.
While it’s long, languorous and more than a little dreamlike, László Nemes’ latest paints another sumptuous world of woe.