Tom Hardy Carries Promising Double-Episode Premiere of Paramount+’s “MobLand”
“MobLand” is familiar but effective.
“MobLand” is familiar but effective.
Mimi Cave’s “Holland” is a lifeless affair, a film that defies genre categorization not by virtue of doing too much but because it does almost nothing at all.
A moving reminder of what truly matters: getting the most out of every minute of life.
“Side Quest” is an easy watch, but a forgettable one.
Every cameo is another brush stroke in the portrait rendered by “The Studio”: A collective middle finger to the system, sent with love.
Perry feigns engagement with serious themes, such as racial profiling, media manipulation, domestic violence, and policing, but uses them as if they are Play-Doh.
“The Residence” is a comedy of manners and murder that nails scintillating satire to the White House walls, compelling us to step inside.
I walked away from “Happy Face” having mostly enjoyed the experience of watching it, but I couldn’t say I was smiling.
One can’t help but wonder what the 150-minute film version directed by Scott would have looked like.
It’s really the circular nature of the script, and its languid pacing and numerous red herrings, that lets the otherwise-workmanlike nature of the miniseries down.
It finally feels like “The Wheel of Time” can become the show it was always meant to be.
One of the joys of stories like this is how it unfolds like the pages of a book; every episode is a chapter, revealing deeper meaning to scenes you previously thought were simple.
“The Righteous Gemstones” is funny, wry, clever, disgusting, moving, shocking, and endearing in ways that are purely aspirational for most comedies on TV, and I’m sorry to say goodbye to it.
“Picture This” is a rom-com that’s more effective as com than rom, with several big laughs and a thoroughly winning lead performance from Simone Ashley.
A look at great South African films, all available on Netflix.