A weird Scorsese riff comes out of nowhere after the emotional highs of last week’s episode.
A mostly conventional biopic that seeks to redeem its main subject, featuring one of the year’s best performances.
Ted Lasso’s longest episode yet may also be its best.
While the film invites direct comparisons to Sound of Metal, Mogul Mowgli has different ambitions on its mind.
“Headspace” doesn’t introduce new conflicts; rather, they feel like natural extensions of what the show has been building towards throughout the season.
A dynamic central performance and a solid directorial effort makes Anne at 13,000 Ft. a film that’s not to be missed.
If anything, “The Signal” shows that Ted Lasso can handle dramatic turns as well as it can the comedic moments.
Season two juggles new plot developments and ignores newer ones, to mixed results.
A solid entry to the beginning of a new era for Marvel
Christmas comes early this year, in one of Ted Lasso’s best episodes.
If there’s one of Ted Lasso’s tertiary characters that I’m excited to see more of, it’s Sam Obisanya.
Heder’s script has a few plot hurdles that keep it from greatness, but her heart is in the right place, and the film represents a promising step forward for her and Emilia Jones.
Nine Days is a refreshingly unique film that announces Oda as an exciting voice with important things to say. The film could have easily slid into familiar sci-fi territory, devoting less time to the more existential issues and more time on structural bureaucracy.
Here’s hoping that every episode title this season refers to a different flavor of tea.
If you’ve seen The African Queen, or Indiana Jones, or Pirates of the Caribbean, or The Lost City of Z, that seems like as safe a place as any to start when discussing Disney’s latest live-action adventure. Because Jungle Cruise feels largely indebted to all of those films, and pulls elements from each one, but still struggles to stand on its own.