Timothée Chalamet in 'The King'

“The King” is the kind of Shakespeare adaptation I could see being shown in a high school English classroom, and I don’t mean that as praise.

'The Man Without Gravity'

There is no school of magic or valiant fellowships when living on society’s edges, and Oscar encounters some of modern society’s worst — how it treats the marginalized.


“Harriet” enlightened me, and I’m sure many other viewers, about aspects of Harriet Tubman’s life that until now had gone mostly forgotten, but frankly, the fictionalized aspects of her story are unforgivable.

'The Laundromat'

The result of Soderbergh’s breadth in perspectives is not enlightening, in fact it’s hardly informative. “Laundromat” becomes lost in its stylistic idiosyncrasies and sprawling storylines to the point of mundanity.

'Jesus is King'

First there was Taylor Swift. Then we find out he supports President Trump. Now it’s … Jesus? It’s almost impossible to talk about Kanye West without mentioning the bombastic controversies that surround him. However, West’s new IMAX short film, “Jesus is King,” asks us to try.


Eventually, they’ll have to stop churning out sequels and remakes and finally create something new, something never-before seen.

'Jojo Rabbit'

In 2019, a year when most people try their hardest not to offend, not to make light of racism and cruelty, Taika Waititi’s Hitler comedy “Jojo Rabbit” should not work.


In many ways, “The Lighthouse” is a testament to the foothold that horror has on the film industry in 2019.

Ian Harris

We’re all living cable free, right? We’re the digital generation, we cut the cords, we use streaming services and we don’t pay for cable. But would we be better off if we did?

'Zombieland: Double Tap'

It’s 2019, and “Zombieland: Double Tap” has lost its edge.