Georgia Oakley gives Austen’s classic a grounded, gorgeous makeover, with Daisy Edgar-Jones and Esmé Creed-Miles delivering lovely performances in one of the most romantic films this decade thus far.

Making Marie Antoinette turns Sofia Coppola’s biggest film into a tender mother-daughter love letter, capturing filmmaking, sexism, family, and Eleanor Coppola’s bittersweet creative legacy.

Fjord is a well‑crafted but ultimately hollow legal drama that's only interesting in the courtroom yet avoids the deeper moral dilemmas it claims to analyze.

Despite a powerhouse, visceral performance from Léa Seydoux, Marie Kreutzer's dark domestic drama gets bogged down by unnecessary subplots and a surprisingly surface-level execution.

Mike P. Nelson’s creature feature Beware Boiúna has everything needed for a killer Big Snake movie, except an actual Big Snake you can see. A dim, self-serious Amazon survival thriller wastes its mons...

Rosalind Eleazar gives Misty Green its only real pulse, but Chris Rock’s mean-spirited Hollywood satire mistakes misogynoir, cruelty, and shallow caricature for complexity.

Admirable as its production and intent are, especially given Baruchel’s performance, The Stunt Driver can’t rise to the occasion in delivering an entertaining movie as death-defying as the Mad Canadia...

Victorian Psycho sees Maika Monroe kill it in full psycho mode, but Zachary Wigon’s bloody Gothic horror struggles to balance its feminist satire, comedy, and scares into a satisfying whole.

A powerful, potent memoir that illustrates how true radicalism forms and continues generationally.

Shaun the Sheep: The Beast of Mossy Bottom is fine stop‑motion fare but compared to its predecessors, it’s less than a cinematic outing and more like an overly glorified Halloween special.

Alpha Gang trades Sasquatch Sunset’s big-furry Bigfoot for leather-clad aliens, delivering an absurdist Adult Swim-style romp that finds heart despite overstaying its welcome.

This Glass Joe of a movie-about-making-movie loses the match the moment it gets into the ring.

I love this current trend of stage productions that originated with a white lead actress being handed to Cynthia Erivo for film adaptations. However, Prima Facie ’s heavy topic is more distressing th...

For a movie centered around God’s followers, Purgatory is a hell of a coming‑of‑age story.

The writer-director of 'The Sun Never Sets' chats with Rendy Reviews about his return to filmmaking and the dawn of a new era for mumblecore.

Space Jam could never!

'It Ends' Director Alexander Ullom About The Beating Heart of His Existential Horror Film

Space Jam could never!

A weed‑fueled celebration of female friendship, sparked by a playful spirit and elevated by Alia Shawkat and Kristen Stewart’s buoyant chemistry.

David Robert Mitchell’s The End of Oak Street turns ‘80s Amblin nostalgia into a tense, gleefully chaotic dinosaur thriller that gives Jurassic World a run for its money.

Yet another fine high-scale Paw Patrol feature for the fam.

A sexy, bloody, hilarious queer horror romp that turns slasher nostalgia into a celebration of identity and desire.

Kent Jones’ entertaining and scathing contemporary adaptation of 1895 fable about a an older poet and his new and younger adorning fans earns a snap or two.

By trading multiversal chaos for personal stakes, Brand New Day spins Holland's strongest and most heartfelt Spider-Man outing yet.

Exclusive: Directors Joel Crawford and Januel Mercado are bringing ‘90s nostalgia and their real-life BFF history to the movie that left CinemaCon and the Annecy Animation Film Festival raving.

She shares the film inspirations, emotional discoveries, and on-set collaboration that shaped her captivating performance in the miniseries.

Sincere, cozy, warm, and anchored by a winning Dominic Sessa performance, Matt Johnson’s Tony is proof that you don’t need to change a great old recipe to deliver a delicious dish.

By trading multiversal chaos for personal stakes, Brand New Day spins Holland's strongest and most heartfelt Spider-Man outing yet.

A huge miss for Kore-eda, Sheep in the Box is a tone-deaf, drab, and hollow family melodrama that desperately needs humanistic realism to balance its cloying, sentimental phoniness.

A gratifying cinematic experience as visually mesmerizing as it is a worthy storytelling contribution to a brilliant fantasy series.