If there's one thing you can count on Aardman for, it's originality.
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The 15:17 to Paris positions itself as an argument in favor of the Islam travel…
Christmas in July has always been one of Sturges' most overlooked (and best) films.
If cinema were a china shop, then Nicolas Cage is the bull.
The Midnight Man quickly becomes a disastrous parody of itself, crashing and burning in ways…
Hostiles is a tedious, banal narrative captured through an equally dreary eye.
Darkest Hour feels like a parody of the awards-bait that often plagues end-of-the-year releases.
In many ways, The Breadwinner is a film for the times we live in.