February 21, 2019February 21, 2019 Matt Bullions

“Happy Death Day 2U,” Is A Gleefully Weird Delight

February 21, 2019January 25, 2021 Ryan D. Curtis

“Miss Bala,” Is Decent But Nothing Special

February 9, 2019January 25, 2021 Ryan D. Curtis

“Stan & Ollie,” Is A Delightful, Heartwarming Tribute

February 6, 2019January 25, 2021 Ryan D. Curtis

“The Kid Who Would Be King,” Is A Fun, Action-Filled Romp Through The English Countryside

February 6, 2019March 25, 2019 Patrick Holman

Editorial: The Best Films of 2018

February 5, 2019February 5, 2019 Matt Bullions

“Serenity,” Is An Unrelenting and Absurdly Hideous Mess

February 5, 2019January 25, 2021 Ryan D. Curtis

“Escape Room,” Is Diabolically Fun

February 1, 2019February 1, 2019 Matt Bullions

“The Mule,” Is Predictable And Problematic

January 28, 2019January 28, 2019 Matt Bullions

Best Films of 2018, According to Matt

January 27, 2019 Matt Bullions

“On the Basis of Sex,” Is a Solid, Important, Well-Acted Drama

January 27, 2019February 1, 2019 Matt Bullions

“If Beale Street Could Talk,” Is Heartbreaking, But Ultimately Hopeful

January 27, 2019February 6, 2019 Patrick Holman

“The Farewell,” Is An Extremely Sweet Dedication to Family

January 26, 2019 Ryan D. Curtis

Worst Films of 2018, According To Ryan

January 26, 2019January 27, 2019 Ryan D. Curtis

Best Films of 2018, According to Ryan

January 12, 2019January 27, 2019 Patrick Holman

“On the Basis of Sex,” Portrays Ruth Bader Ginsburg Coming Into Her Own

January 12, 2019 Matt Bullions

“Welcome to Marwen,” Is a Complete and Utter Debacle

January 10, 2019January 13, 2019 Matt Bullions

“Green Book,” Is a Warm and Charming Crowd-Pleaser

January 7, 2019January 12, 2019 Matt Bullions

“Vice,” Is Ambitious and Messy

January 4, 2019January 4, 2019 Matt Bullions

“Bumblebee,” Brings A Clunker Back From The Dead

January 1, 2019 Matt Bullions

“Second Act,” Doesn’t Take Itself Too Seriously