Bird Box is the type of apocalyptic horror thriller that has positively nothing stimulating or original to say, despite expert direction and an astoundingly overqualified cast doing everything in their power to wrestle something this tiresome and done to death into respectability.
Season three of Travelers has arrived on Netflix, and it’s the show’s best to date. The binge-ready sci-fi series hits a quick reset button to clear up some of the mess that was left after the end of season two, and proceeds to leap into new turmoil, while digging deeper into questions about what’s really happening in the present, and the future.
A remarkable and captivating blend of autobiography, performance, and motivational speaking, Springsteen on Broadway distills everything that makes one of America’s greatest singer-songwriter-rock stars such a formidable, genial, and inviting personalities into a single, visual volume.
For their latest longform true crime project, Netflix partners up with author John Grisham to adapt one of his few non-fiction books, The Innocent Man, into an effortlessly binge-worthy series that maintains the writer’s status as one of America’s preeminent purveyors of pageturners.
A daring, but dazzlingly realized reworking of Rudyard Kipling’s The Jungle Book, Mowgli: Legend of the Jungle is a successful risk that might not be suitable for the youngest of children, but is certainly one of the better and more soulful effects driven blockbusters of the year.
Rich in plot and subtext, Italian writer-director Alice Rohrwacher’s allegorical and twisty drama Happy as Lazzaro is an ambitious and mostly successful look at how the fears of marginalized people have rarely changed over time.
On the new cooking competition show The Final Table (premiering this week on Netflix), Canadian chef and restaurateur Darren MacLean competes side by side against some of the best culinary artisans in the world in a bid to sit alongside a number of international fine dining luminaries.
The Christmas Chronicles is an uneven, but strangely satisfying holiday treat.
Falling well short of its intention to become a De Palma indebted flick for the digital age, the disappointing and tough-to-stomach thriller Cam almost succeeds in becoming captivating viewing thanks to an exceptional leading performance and an intriguing premise.
The light beer equivalent of Braveheart, David Mackenzie’s competent, but relatively pointless epic Outlaw King has plenty of bloodshed, lots of actors shouting impassionedly, expertly lensed melees, picturesque locations, and not much else of note.
