The Upshaws is exactly what you need to watch on Netflix right now. The new sitcom is like nothing else on TV, and frankly, it’s like nothing I’ve seen on TV in years, and that’s all because of Mike Epps, Wanda Sykes, Kim Fields, and Regina Hicks.
Leslie Bibb is kicking ass in the new Netflix series, Jupiter’s Legacy. Based on the comic books by Mark Millar, Bibb leaps into the role of Grace Kennedy, a reporter drawn into a search for a remote island, and a decades-long tale.
The teen romance sequel To All the Boys: Always and Forever is a decided comedown in quality when placed along its two genuinely charming predecessors.
Crime Scene: The Vanishing at the Cecil Hotel is an effortlessly bingable, yet uniquely melancholic true crime documentary saga that plays with audience expectations of the genre.
I honestly can’t tell if I appreciate writer-director Sam Levinson’s Malcolm & Marie or I hate it with every fibre of my being. Even more honestly, I’m in no rush to revisit something this purposefully shrill, abrasive, and combative to find out.
George Clooney’s new film, The Midnight Sky, debuts on Netflix starting tomorrow, and it’s a complex, moving, and epic sci-fi adventure with a story that feels especially prescient this year.
An electrifying and intimate look at cultural shifts within the black community at the height of Jim Crow and a mass exodus from the American south, Ma Rainey’s Black Bottom bristles with intensity, anguish, and above all else, confidence.
Ryan Murphy’s bright, colourful, and relentlessly chipper screen adaptation of the musical The Prom is exactly the sort of star driven production that the material is trying to lampoon.
Funny Boy, Canadian filmmaker Deepa Mehta’s adaptation of the 1994 bestselling novel by Shyam Selvadurai, is a mostly successful drama that works well when at its best, but occasionally delivers too light of a touch.
A noticeable comedown in quality from its already uneven predecessor, The Christmas Chronicles: Part 2 is a cheap and lazy sequel.