Game Night – Recap/ Review (with Spoilers)
Game Night isn’t the funniest comedy you’ve ever seen, but probably has one of the best storylines in recent memory.
Discover our top picks and latest reviews spanning from blockbuster hits to indie films, shorts, and festival premieres across various platforms.
Game Night isn’t the funniest comedy you’ve ever seen, but probably has one of the best storylines in recent memory.
Your usual Zombie film done on a grander scale.
Peeples wastes all its potential for the sake of bad jokes and situational comedy.
Touching, but perhaps a tad theatrical, The Bachelors’ sorrow will likely dampen your mood with its affecting performances.
To be quite honest, I am not sure how I discovered this movie exactly. I was just searching about and found this despite not knowing a single actor, or anyone involved. Still, the trailer made it seem very interesting so I decided to give it a chance.
Annihilation shows why the sci-fi genre is usually combined with the thriller or comedy genre, and not with artsy indie drama.
Newness, while it has a certain charm emanating from its leads, struggles to maintain interest during its nearly 2-hour timespan.
While it is clear, when watching, this is a YA novel adaptation, between Angourie Rice and the writing, Every Day sidesteps a lot of expectations. Though not some which matter the most.
Not since Angels in America have I seen something which has combined the devastation of AIDS with the reminder that those HIV+ are still capable of living beautifully vibrant lives.
Golden Exits is a melancholy indie film which relies heavily on Emily Browning’s charm to get you through it.
ExPatriot seems like an NBC mid-season replacement you didn’t know existed.
Honestly, I’m ready for Gugu Mbatha-Raw to star in the majority of Netflix’s movies for she finds a way to elevate them past their innate mediocrity.
Between having a sense of culture unlike the rest of the MCU, one of the best villains, female characters who are far beyond being simply love interests and so much more, Black Panther puts the rest of the universe on notice.
Revolting Rhymes may begin with a PBS Kids logo but more so is geared toward early teens who want a slightly darker version of childhood fairy tales.
With Where’s The Money? I think it is time to evaluate whether many a Black urban comedy can qualify as being “camp” in style.
Whitney Cummings proves that it isn’t just male comedians who find a second life and flourish by taking on a dramatic role.
What Seeing Allred presents is that it isn’t just the court in a courthouse which matters, but the court of public opinion.
The Cloverfield Paradox doesn’t really live up to the hype the franchise has had, or seems worth how much Netflix likely paid, but can be enjoyable.
Maze Runner: The Death Cure tries its hardest for an epic ending but ends up falling on its face with every attempt at an emotional moment.
The Misguided is a tale of two brothers who, despite their relationship complicated by a woman and drugs, may sometimes struggle to keep your attention.
Little Bitches has this quality to it which makes it seem like a failed MTV pilot was made into a movie covering what the first season would cover. Minus some essential details.
Paperback will have you questioning your beliefs on marriage and relationships as you laugh at and with its lead character.
The Open House follows a different route than most thriller/horrors. Which you may love at first, until what happens in the ending.
The legendary beast returns in Godzilla: Part 1 “Planet of the Monsters” and Netflix, arguably, gives the monster it’s just due.
Saturday Church may have hit or miss musical elements, but Luka Kain and company present a film which sets a precedent for the upcoming Pose to follow.
Freak Show moves past your usual coming-out story and focuses on how to gain tolerance or acceptance, thus presenting a more interesting narrative than often seen in LGBT-focused films.
If you’re a fan of Taraji P. Henson, you’ll enjoy Proud Mary, if not, this will not be the film to win you over.
The Commuter may just be the film which defies the idea January is a dumping ground for movies not bound for the Oscars.
Though you can easily forgive Blame because the heart of the story is so good, once you start really taking note of all that is going on, you realize it might not be as good as it seems.
The Light of the Moon presents a layered, multi-faceted look at the life of a rape survivor and how that assault changed nearly everything in her life.
Happy Death Day is a surprisingly good horror movie, until the killer and their motive is revealed.
Sean Baker shows himself as perhaps one of the few noteworthy director/writers who seriously have his own style you cannot quickly and easily compare.
I, Tonya may help build up Margot Robbie’s filmography, and get Alisson Janney major awards, but it’ll also may bore you senseless.
Setting aside Louis C.K.’s public issues, arguably the film presents a rather interesting and timely conversation about women’s autonomy and consent.
What Smith has brought to the action genre is mixed with Edgerton’s dramatic chops, making for a film which feels like a blockbuster oddly released online rather than in theaters.
Similar to the Fast and Furious franchise, Pitch Perfect’s latest sequel solely tries to appeal to old fans rather than collect new ones.
While the film won’t leave you swooning due to the romance or even the lead actors, it’s a pleasant way to spend a little over an hour and forty minutes.
The Greatest Showman is the type of musical which is worth repeat viewings and one you can see make an inevitable move to Broadway.
Unlike A Christmas Prince, there isn’t anything really to redeem this Christmas movie.