“Tony” is Yet Another Good Biopic
The problem isn’t that it’s bad. It's good. But it fails to stand out from a crowd of similar films.

When his slasher-fiction novel manifests in real life, hack writer Rian Burman has to finish his story without getting his protagonist murdered by a seriously sadistic Stalker who will stop at nothing to have her.
The problem isn’t that it’s bad. It's good. But it fails to stand out from a crowd of similar films.
We’ve always known that Edgar Wright is a mixologist when it comes to blending sound, light, colour, and texture. This is especially true in the first act of the film. In fact, all of my positive feedback is directed exclusively at the first act of this film.
A homeless girl faces depression and uncertainty during the holidays.
The roaring emotional ride that was the season four finale sets June on a new path: more of a Survivor's Journey.
Gretel & Hansel falters due to its razor thin story and lack of characterization. It loses sight of horror’s key rule: In order to create an effective tale, characters and emotions must be emphasized.
“To be universal, you have to get specific”: while the film does not attempt to provoke discussions about queerness or race, those watching closely may find something resonant in Sorrentino’s love letter to the Naples of his youth.