A wound between old friends re-opens after a laughter, forcing them to face the past and understand that their friendship is meant to drift apart.
The history of Hollywood is as ugly as it is beautiful. Most notably absent from Hollywood history are Black-produced films. “They’ve Gotta Have Us” explores the rise of Black cinema.
The Roses is a wickedly sharp marital warfare comedy that transforms domestic dysfunction into high art. Olivia Colman and Benedict Cumberbatch deliver powerhouse performances as a couple whose fairy-tale romance implodes when his architectural career collapses just as her culinary empire takes off. What makes Jay Roach's remake so devastatingly effective is its refusal to pick sides—both spouses are equally sympathetic and monstrous, wielding Tony McNamara's razor-sharp dialogue like weapons forged from shared intimacies. It's a film that dares you to laugh at relationship wreckage while forcing you to confront the uncomfortable truth that the line between passionate love and mutual destruction is terrifyingly thin.
A young woman finds herself trapped in a crossfire of awkwardness during a nightmarish dinner party with her boyfriend's dysfunctional family.
Crossroads follows a young guitarist on a journey through the American South in search of blues history and his own voice.
The series follows Mark Naird (Carell), a four star general who has been appointed to run the newly created Space Force
Netflix’s new mystery thriller, The Marked Woman (released originally as La Desconocida), is confusing. More critically, though, it commits the worst mistake a movie can make: it’s boring. From Spanish director Gabe Ibáñez, the film squanders its premise at every turn, fills the story with unlikeable characters, and lacks emotional payoff.
