While 'His Three Daughters' contains strong performances from its trio of lead actresses, writer/director Azazel Jacobs puts them in cyclical situations that never fully forms an emotional center with the event they’re going through.
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Studio Ponoc gets spirited away with its unrefined Ghibli-esque musings, The Imaginary manages to do so with sincerity making for a much-needed reminder of the necessity of creativity during a time when things seem especially bleak.
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Don’t go in expecting to be blown away, and ‘Damsel ‘ should do just fine. Just make sure you’ve got your plot-armor, and possibly a few glow worms for safe measure, too.
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While ‘The Kitchen’s sociopolitical underpinnings could’ve used more meat around the bone, its technical direction from Daniel Kaluuya coupled with lead performances from Kane Robinson and Jedediah Bannerman make it a worthwhile watch.
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Despite striking images from cinematographer Matthew Libatique, director Bradley Cooper fails to peer through the public façade of Leonard Bernstein in the ridiculously formless and inert ‘Maestro’.
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“May December” boasts an incredible lead trio of Julianne Moore, Natalie Portman, and Charles Melton, with Todd Haynes delivering his best directorial effort since 2015’s “Carol”.
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Thanks to an incredible sense of visual skill and a terrific cast, Spy Kids: Armageddon revives one of the best family franchises in modern film history while still being game for the ultra-ridiculous fun the franchise is known for.
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‘First Play’ serves more as a thriller than a drama though and takes a certain level of comfortability with serious topics to be able to watch. Hopefully, with it’s success on the platform, Netflix will go back to giving more artists a creative domain to showcase their newest works.
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Despite some narrative stretches in its latter half, Juel Taylor’s ‘They Cloned Tyrone’ remains an enjoyable watch, thanks to the contributions of John Boyega, Teyonah Parris and Jamie Foxx.
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Despite assured performances from Pierce Brosnan, Ellen Barkin, Richard Kind, Julie Hagerty and Michael Rooker, ‘The Out-Laws’ is the year’s most irritating and unfunniest movie.
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Sure, there is a talking cricket and a compendium of other colorful characters, but Guillermo del Toro’s Pinocchio is totally - and tonally - different from any of the other adaptations, which is possibly why it is one of the best films of the year.
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Alejandro G. Iñárritu’s BARDO, False Chronicle of a Handful of Truths is an excessively self-indulgent piece of claptrap that overcomplicates a simple premise that becomes minimally thoughtful in the process. Here’s our review of a surprisingly awful film..
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Thomas M. Wright’s The Stranger is the latest in a long time of true-crime dramas in Netflix’s extensive catalog, and thanks to the director’s astute eye for detail and dedication to the film’s dark and hopeless atmosphere, it manages to stand out as one of the streaming service’s best.
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The Swimmers is a distinctly unique celebration of triumph and success, with a rock-solid emotional core bound to evoke cries, cheers, laughs, and a feeling of hope when the credits start to roll.
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While Mark Wahlberg and Kevin Hart infuse some much-needed comedic levity in Me Time, its uninspired and unfunny plot makes the case that most Netflix movies aren’t meant to be actively watched.
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J.J. Perry’s Day Shift may not be anything new or original, but it ends up being a memorable balls-to-the-walls vampire-action film that’s best experienced with a group of people (or in a midnight screening.
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Fresh off directing one of the biggest blockbusters in history, Anthony and Joe Russo team up with Netflix, Ryan Gosling and Chris Evans for the streamer’s most expensive attempt at a franchise hopeful to date.
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Featuring an all star cast, and one of the biggest names in comedy, Judd Apatow’s new comedy The Bubble attempts to poke fun at the heartless state of Hollywood blockbusters yet tragically falls victim to the very tropes he’s mocking.
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‘Texas Chainsaw Massacre’ is a colossal disappointment. It completely dismisses everything that the franchise has done successfully up to this point, crafting a pointless and underdeveloped narrative that acts purely as a backdrop for brutal violence and shoehorned inclusion of basic, nostalgia-driven character work.
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Don’t Look Up is largely, a disappointment. All the ingredients for a great film are there: an original, intriguing premise, plenty of incredibly talented actors, an acclaimed director/writer, and a story that feels extremely relevant in our current society. But sadly, the film is thrown together in such a rushed and careless way that it becomes mostly uninteresting and forgettable
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