Netflix’s adaptation of Jane Austen’s Persuasion, directed by Carrie Cracknell, isn’t a disaster, it’s a dull reminder of the state of the streaming wars.
The characters in Ma Rainey's Black Bottom, distinct as they are, besiege the viewer's mind as metaphors, mythic exemplars of a disturbing legacy America seems unable or unwilling to address.
It's time Christmas rom-coms move beyond the twin swaps, the dead spouse who comes back as an angel, the bad blind date, etc., and instead, turn to real-life stories for healthy models of lasting love forged in the fires of the holiday.
Joe Wong, the composer behind Netflix's Russian Doll and Master of None, articulates personal grief and grappling with artistic fulfillment into a sweeping debut album.
Fernando Frías de la Parra's I'm No Longer Here (Ya no estoy aqui) is part of a growing body of Latin American social realist films that show how creativity can serve a means of survival in tough circumstances.
Deborah Feldman's memoir, Unorthodox, is more than a depiction, or even indictment, of the Satmar. It's an indictment of any patriarchal social system that shrinks young women's dreams to the size of a kitchen, and then blames them for it.
As with Da 5 Bloods, Spike Lee's films are replete with experimental aesthetics that deconstruct the conventions of (white) Hollywood and re-frame and re-contextualize Black lives and Black history.
Contrary to the intention of Ken Liu's short story, "Good Hunting", Netflix presents a superficial arc of female empowerment, then allows animation and the role of male characters to undercut that message.
Co-writer and star Alison Brie's unreliable narrator in Jeff Baena's Horse Girl makes for a compelling story about spiraling into mental illness.
In Citizen K, director Alex Gibney refrains from judging his imperfect protagonist, exiled Russian oligarch business man and political philanthropist, Mikhail Borisovich Khodorkovsky.