Nosferatu (2024) Review
Robert Eggers’ take on the masterful German Expressionist film ‘Nosferatu’ is an auteur work to meet and exceed expectations of cinephiles. Review by Jacob Davis.
Read MoreRobert Eggers’ take on the masterful German Expressionist film ‘Nosferatu’ is an auteur work to meet and exceed expectations of cinephiles. Review by Jacob Davis.
Read MoreHalina Reijn follows up ‘Bodies Bodies Bodies’ with an erotic thriller to indicate the future of the sub-genre, ‘Babygirl’ (2024), starring Nicole Kidman. Review by Margaret Roarty.
Read MoreJeff Fowler’s ‘Sonic the Hedgehog 3’ (2024), from SEGA Original Films, is far from deep or meaningful but is still a good time at the movies with plenty of laughs. Review by Joseph Wade.
Read MoreAardman Animation’s 2024 Wallace and Gromit film ‘Vengeance Most Fowl’ is a massively entertaining, frenetic, off-the-wall ride for the whole family. Review by Kieran Judge.
Read MoreAs pleasing as it is to return to Rohan for anime Tolkien adaptation ‘The Lord of the Rings: The War of the Rohirrim, the film does feel less than essential. Review by Sam Sewell-Peterson.
Read MoreEverything about Edward Berger’s Catholic thriller ‘Conclave’ (2024) is stellar, including the career-high lead performance of Ralph Fiennes. Review by Kieran Judge.
Read MoreSkydance Animation’s sophomore release ‘Spellbound’ (2024), on Netflix, features some all-time great animated movie voices and is brilliantly creative. Review by Joseph Wade.
Read MoreMichael Washington’s feature directorial debut ‘The Piano Lesson’ (2024) is a family affair starring John David Washington, that doesn’t reach the heights it promises. Review by Martha Lane.
Read MoreRidley Scott’s sequel 24 years in the making, ‘Gladiator II’, serves spectacle but lacks depth. It is a mixed but decidedly entertaining historical epic. Review by Sam Sewell-Peterson.
Read MoreBenjamin Ree’s feature documentary ‘The Remarkable Life of Ibelin’, is the moving and sensitive telling of Mats Steen’s second life in MMORPG ‘World of Warcraft’. Review by Sam Sewell-Peterson.
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