A New York family moves to a quiet estate for a fresh start. When they arrive at their beautiful property they soon realize something is watching them. Their lives are about to be judged by the sins beneath.
To say Hollywood has had a troubled past is the understatement of the century. In Ryan Murphy’s (American Horror Story) new Netflix series, Hollywood, that past is confronted and even rewritten.
When science, Bruce Banner is exposed to gamma radiation from his experiment, he transforms into a gigantic green monster when he gets angry and wreaks havoc wherever he goes.
In Deaf, the Spanish director Eva Libertad explores pregnancy and motherhood from the perspective of a deaf woman. Her movie examines how the world imposes the notion of disability on her main character while she actually does not feel disabled herself.
Over the last several years, I have had the privilege of being one of the critics having the opportunity to watch and review several films from writer/director/producer Marcellus Cox, whose efforts are never anything less but grounded, relevant, and steeped in unflinching glimpses illustrating the gripping, inspired, and ever-vacillating realms that make up the human condition.
A surprise sequel takes place ten years after the original movie based on the title of the same name, but with a twist to the fairy tale.
Netflix’s new comedy drama, Don’t Say Good Luck, is a heartwarming tearjerker as well as a love letter to the transformative power of being a theater kid. Directed by Julia Hart, Don’t Say Good Luck follows Sophie (Sunny Sandler), a theater kid who finally gets the lead role in her school’s production of Waitress - just as she finds out her mom Elizabeth (Melanie Lynskey) is dying of cancer. While the singing is by no means spectacular and Sandler’s acting is stiff, the film is grounded in the moving performance of Lynskey as a mother who wants nothing more than for her daughter to achieve her dreams, even if she can’t be there to see them.
