TENET is a smug, dull, headache-inducing load of sound and fury signifying sod all.
Despite suffering from the same identity insecurities as Late Night, The High Note ultimately succeeds as escapist comfort on the strength of its impeccable cast.
Whilst it could’ve done with more discussion about the games themselves, Pretending I’m a Superman is a surprisingly solid documentary about the Tony Hawk series’ impact on pop and skater culture.
Whilst it suffers mightily from comparisons to The Miseducation of Cameron Post, Yes, God, Yes at least displays promise for first-time director Karen Maine and is carried by star Natalia Dyer.
In praise of one of the most ah-mah-zing and suh-cy-ute sitcoms to ever air.
Claire Oakley’s debut feature is a stylish calling card of promise, but lacks lasting substance.
Robbers, kidnappers, cheaters, and playboys.
How the Critical Role crew managed to stumble onto the perfect quarantine entertainment.
British cinema literally releases dozens of films exactly like Military Wives every single year. There is no reason to actively seek it out.