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.
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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.
Hillbilly Elegy, director Ron Howard’s latest and most blatant stab at dramatic Oscar glory in a decade, is an objectionable, polished, sanitized take on important subject matter
Another electrifying, articulate, and entertaining effort from director David Fincher, Mank is both a cracking biopic about famed screenwriter Herman Mankiewicz and something far more personal for the filmmaker.