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With The Queen, Stephen Frears has at least two items on his agenda: to humanize the head of the British monarchy while at the same time indicating how far removed she has become from the concerns of her subjects. He also poses questions about the...

Race doesn’t challenge our expectations of what constitutes a competent bio-pic. Opting for a straightforward telling of a (mostly) true story, the filmmakers have moved forward with an abundance of reverence. I’m reminded of 2013’s...

Generic animated cash-grab.  It’s hard to think of a more appropriate phrase to describe Ratchet and Clank, the video game-based movie being dumped unceremoniously into theaters for what will probably amount to a one-week run. (Tepid box office co...

The 2019 film Ready or Not was a delightfully wicked surprise, a fun horror-comedy that managed to successfully blend a Monty Python-esque approach to slapstick violence with a generous helping of blood and gore. While the premise of a "most d...

When it comes to modern science fiction schlock, no TV network is more closely associated with the genre than Syfy. With titles like Megapiranha, Rage of the Yeti, Mongolian Death Worm, and Man with the Screaming Brain dotting the viewing sche...

For legendary Japanese director Akira Kurosawa, Red Beard represented the end of an era. Not only was it the last film he would make in black-and-white but it represented the end of a 16-film collaboration with Toshiro Mifune. Across the lands...

The Red Turtle is one of the most unique high profile animated films to have come along in recent years and in a way represents a repudiation of the commercial arm of the genre. Lacking even a line of dialogue and using hand-drawn images, The Red Tur...

Renaissance is the latest in a growing range of screen titles with a graphic novel sensibility. Coming in the wake of Sin City, Renaissance treads through similar territory, but with a striking difference: director Christian Volckman uses rotoscop...

Rescue Dawn, which transpires in southeast Asia during 1965, makes three things perfectly clear. First, director Werner Herzog is obsessed with the story of Dieter Dengler. Second, Herzog loves making movies about men with a tenuous grasp on sanity...