This season’s biggest surprise and delight is poised to make a clean sweep.
The First Shadow feels like a dim approximation of what makes the Netflix series so special.
Boop! earns the confetti cannon that goes off in the show’s final moments.
The only variety here is in the velocity and volume of the men’s anger.
The silliness sticks more than the pathos in The Picture of Dorian Gray.
The original tale proves too skeletal to support the film’s weightier ambitions.
Is this the underwhelming Kit Kat Club all over again? Well, yes and no.
Menzel has range, but her character doesn’t, and that’s Redwood’s chief failure.
In the last two years, the festival’s programming has grown riskier and more boundary-crossing.
The theater pieces that resonated most this year were stories of communal, collective healing.
For devotees looking to see Wicked explode on to the screen, Chu’s vision won’t disappoint.
Darren Criss and Helen J. Shen turn the slightest of touches into electric connection.
Rachel Zegler and Kit Connor’s casting will persuade their fans that this story is dope AF.
Sunset Boulevard’s heavy bones drag behind Jamie Lloyd’s austere vision like a body bag.
The unendurable passage of time haunts both plays.
Not knowing what’s real and what’s not is less compelling than McNeal contends.
At its funniest, The Roommate is a comedy of manners, an unapologetic throwback.
Whenever the film lets the critic do his criticizing, McKellen is a wicked delight.
If the show isn’t just riotously funny but whipsmart and lovely, too, so are its new stars.
With Life and Trust, Emursive has opted wisely for mood over minutiae.