This is an overtly political film that’s hesitant to express its own political views.
The film is sensitively attuned to how people’s feelings are shaped by cultural norms.
The Choral sets out to mix comedy with tragedy, but it’s an unsuccessful brew.
Like the best detective tales, the film doesn’t just dazzle us with a clever answer at the end.
The latest installment of the true-crime anthology series is shallow and abrasive.
The film’s directors each take a horror movie staple and put their own distinctive spin on it.
Good Boy finds several clever ways to draw us in to its canine perspective.
In its sophomore year, the series continues to thrive in a comfortable groove.
This biopic about Whitney Wolfe Herd can’t escape the shadow of The Social Network.
The series finds the right balance of mellow, character-driven comedy and broader antics.
The film effortlessly melds its sadcom properties with more predictable rom-com traditions.
Throughout, the film discordantly slides between farce, satire, and murder mystery.
The series is a likable enough soap opera that’s only worth half of your attention.
The tone of the film is generally as light and zany as its B-movie title suggests.
Nick Rowland’s film doesn’t seem to have faith in the story the novel tells.
Saint Clare’s split personality is apparent from the start.
The series gets Dexter back in action and gleefully leans into the pulpier side of his tale.
R.T. Thorne’s film continually finds clever ways to subvert familiar story beats.
The series feels like a cop show from an older, more conservative era of television.
The film leads to an outcome that’s both violently chaotic and tragically predictable.