Fincher continues to display technical mastery over a delightfully self-indulgent thriller, one that fails to effectively thrill.

The series has finally concluded, and I, for one, am still left pondering.

The trending phrase in modern game criticism that is the equivalent of shooting oneself in the foot.

Star Wars has been in a creative rut. Recent announcements promise nothing new.

The Creator fails at delivering unique sci-fi, which while still watchable, is by no means the return to original blockbusters we’ve been hoping for.

Nintendo is known for their limitless creativity when it comes to gameplay, but seem stuck when cracking the narrative nut.

Bottoms is unapologetically its own, and I wouldn’t want it any other way.

Starfield is on the horizon, and I find myself lost even before entering the unknown.

The Coen’s style is one of a chameleon, changing to fit their latest take on Absurdist thought.

Past Lives communicates more in its quiet moments than entire films do in the whole of their noisy runtimes.

(Inspired by FilmCritHulk)

Despite the “uninterrupted reality,” Rope has deceit at its very core.

Originality is inherent to an idea as expansive as the multiverse, and yet, Hollywood finds a way…

Greta Gerwig displays creative prowess when adapting a brand into a modern cinema icon with hilarity and heart.

Save for a few hiccups, Nolan’s explosive efforts stuns and immerses with a masterful exploration of one of the most interesting minds in history.

Secret Invasion tries to deceive its audience into being thrilled.

Wes Anderson explores existentialism with colorful flare.

Master of None and Atlanta succeed at nuanced representations of minority demographics previously depicted as monolithic.