Netflix will release the series on May 31.
The film might have better performed if it consisted of more than a smattering of good but relatively isolated ideas.
The film quickly reveals that the only angle it’s interested in is the one that most sympathizes Gary Hart.
Writer-director Shana Feste’s film alternates between cutesy comedy and undercooked emotional drama.
The final optimism of the film’s worldview lands with a conviction that’s rare in contemporary Hollywood cinema.
The Conjuring 2 only bothers to develop its characters in the immediate run-up to its extended finale.
Ricky Gervais’s film hopscotches through a variety of premises, looking for jokes that never arrive.
The filmmakers oddly forgoe the abundant elegiac aspects of his film’s factual material for a tone approaching the ebullient.
One long trial of moral duty, and one that excuses repugnant behavior and psychological warfare in lieu of a repetitive, condescending sermon on honoring thy father.
Though James Wan’s latest claims to be based on a true story, in truth it’s based on every horror film that’s come before it.
Bates Motel suggests what Gilmore Girls would’ve been like if it arbitrarily featured a tormented young Charles Manson.
Even if Safe House turns especially silly in its final attempt at social justice, the film achieves something rare for a Hollywood action film: depth of purpose.
You’ll wish it stuck with Reeves’s unlikely casting as Lopakhin in the Chekhov play as its focus rather than just a cutesy twist.
If you haven’t already, set 10 minutes aside to savor Pictures at a Revolution author Mark Harris’s latest unfailingly insightful demythologizing of the Oscar game.