Moments of humanity glimmer on the show’s fetid surface like stars in a dirty street puddle.
We Bury the Dead uses the walking dead to ruminate on loss and closure.
Fuller’s film is essentially a dark fantasy spin on Léon: The Professional.
Lee’s adaptation of Kokuho takes a novelistic approach to scene and character.
The cast seems to know exactly what they’re doing even when the series doesn’t.
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.