#film-review

#film-review

Lydie's joyous pregnancy announcement contrasts with Agnes's unresolved trauma, showcasing the impact of past events on the present and her struggle to navigate friendships.

Eva Victor's feature debut, Sorry, Baby, addresses trauma through the lens of a queer friendship, portraying how bonds can nurture and heal.

Despite featuring a star-studded cast, 'Jurassic World: Rebirth' fails to deliver substantial impact, relying on a tired formula that lacks originality.

Appropriately jolting and surprisingly fun to watch, 28 Years Later's prologue introduces viewers to the terrifying yet entertaining world of flailing 'Infected'.

Dysfunctional parents, a pining girlfriend, falling for a straight guy - the overcrowded gay coming-out genre often feels repetitive and stale.

If you're looking for something to scratch a Die Hard itch, that is certainly what Last Resort is trying to do, but there are many superior Die Hard rip-offs available.

The film 'Unholy Trinity' may not break new ground in the Western genre, but it allows Samuel L. Jackson to shine with his over-the-top performance.

Nora's journey in 'Our Times' reflects the struggle against historical gender inequality within academia, showcasing how women have regularly been overlooked despite their significant contributions.

In the canon of vacation-set marriage exposés, it's mid-tier, entertaining in parts but neither profound nor original enough to blaze any new trails.

Sedgwick plays Cynthia, whose brilliant husband, Warren, once on the staff of the Watergate committee, is now 83 and sliding into dementia.

With that in mind, perhaps the more pressing question that "Ballerina" exists to put forward is this: Can the world of John Wick survive without series director Chad Stahelski?

"Pryce realized Santi is a prodigy and that he may be able to make something of him, and perhaps something of himself again."

"Mountainhead" is the latest from "Succession" writer-director Jesse Armstrong - no surprise, it's available on HBO's streaming service, Max - and it's something more and rather less: a feature-length film that places four obscenely rich Silicon Valley overlords in a snowbound mansion as the world burns down around them and they plot to leverage the situation to their profits and power.

You go for the stunts, for Tom Cruise breaking into a dead sprint, and for shit to blow up real good. Going by those metrics, The Final Reckoning delivers.