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Even though it's set centuries ago, this film feels like a contemporary fairy tale about rising above ostracism and finding your people.

I know this film is long, but I promise you it's worth it. Any expectations viewers might have will be smashed, but then they'll be rebuilt into something different.

“The Social Reckoning” is a moderately tense biographical conspiracy thriller, pitting one altruistic woman's voice against an enormously wealthy company that manages to avoid any social responsibility.

I’m happy to say I didn’t hate this film. It was okay. Not the best of this year but also not the worst, and I hope lots of movie lovers will still give this one a chance in the movie theater.

“Primetime” feels like a contemporary tragedy of American acclaim or American power created through the operations of the media.

The historic, violent, and disheveled tone of this film is believable and consistent, but the director and his team forgot to make the tone dynamic as well.

This sequel isn’t a disappointment as big as “The Devil Wears Prada 2” was earlier this year, but it’s a distant second place so far.

This 96-minute film is not that scary or gripping, but it sure is entertaining, and it gives a much different look to the horror genre.

The simplicity and coziness makes the film feel like an intimate play on stage so every viewer can focus only on the actors in front of them, their smallest of gestures, and their sneakily verbal mixtures of deceit and honesty.

Hollywood is currently terrified to make a mainstream blockbuster not connected to familiar intellectual property, so “The End of Oak Street” does deserve some credit here being a new idea.