Fuze Review: It Doesn’t Always Make Sense—But It’s a Ride Worth Taking
No matter the genre, every cinephile has that one director they wish was playing on a bigger stage. For me, when it comes to thrillers, that director is David Mackenzie. His latest film, Fuze, arrives courtesy of Roadside Attractions and Saban Films—and it wastes no time making its intentions clear.
“American Solitaire” Confronts PTSD and Gun Culture Head-On
Writer-director Aaron Davidman explores two gripping topics—gun control and PTSD—in his new film “American Solitaire,” from Greenwich Entertainment. As anyone who has served their country knows, when you come home from war, sometimes the battle isn’t over.
“Return of the Mack” Review: Legacy Meets Grit in a Modern Redemption Story
Director Kamal Smith brings his creative vision to “Return of the Mack,” a companion piece to the classic 1970s film “The Mack,” distributed by Quiver Distribution. The screenplay is written by Jason “Jayskillz” Collins, Brian Freeman, and Jami Freeman.
Bob Odenkirk Trades “Nobody” Swagger for Everyman Grit in “Normal”
After an incident on the job that also resulted in a bout of PTSD and put a strain on his marriage, Sheriff Ulysses (Odenkirk) has relocated to a small town in the Midwest as an interim sheriff, filling in for the town’s Sheriff who recently passed away.
“Omaha” Review: John Magaro Shines in a Heartfelt Road Trip Drama Set During the 2008 Crisis
After getting his feet wet in the world of shorts, director Cole Webley makes his feature debut with “Omaha” from Greenwich Entertainment. Robert Machoian pens the film’s screenplay. Set in 2008, against the backdrop of the economic crisis, the film introduces us to a struggling, nameless father (John Magaro).
“Hamlet” (2026) Review: Riz Ahmed’s Modern Shakespeare Adaptation Falls Flat
There’s a version of Hamlet that should feel alive in 2026—restless, culturally sharp, and willing to take risks. This isn’t that version. Starring Riz Ahmed and directed by Aneil Karia, this modern take on Shakespeare’s classic tragedy never quite finds its footing. It’s not a disaster—but it’s frustratingly close to being something better.
“Faces of Death” Review: A Killer Concept That Mostly Plays It Safe
One day, Margot stumbles upon a violent video uploaded by Arthur (Darce Montgomery), a serial killer reenacting deaths from the original “Faces of Death” and targeting internet celebrities as his victims.
“Hoppers” Review: Pixar Finally Stops Playing It Safe—And It Shows
Pixar hopes to reclaim its glory with “Hoppers,” from director . Daniel Chong. The director pens the screenplay with Jesse Andrews. If we are being honest, Pixar has spent the last decade doing something it traditionally avoided—playing it safe with sequels, familiar worlds, and proven formulas.
“The Drama” Review: Pattinson and Zendaya Anchor A24’S Character Study
Norwegian filmmaker Kristoffer Borgli continues his collaboration with A24 in “The Drama,” a polished relationship story that gradually unravels the longer you engage with it.
“Reminders of Him” review: Colleen Hoover’s Emotional Redemption Story Lands
The story begins with Kenna Rowan (played by Maika Monroe), who returns to her hometown after serving seven years in prison for vehicular manslaughter that resulted in the death of her ex-boyfriend and the father of her daughter, Scotty (Rudy Pankow).
“A Magnificent Life” review: Sylvain Chomet’s Animated Biopic Reinvents the Genre
I’ve always had a soft spot for biopics—the kind that take real lives and shape them into something cinematic and lasting. However, I can admit that the genre has been lacking lately.
“They Will Kill You Review”: Bold, Bloody, and Unpredictable
Russian filmmaker Kirill Sokolov makes his American debut with Warner Bros.’ “They Will Kill You”, a blood-soaked genre hybrid that wastes little time showing its teeth. Co-written with Alex Littvak, the film drops audiences into a deceptively simple setup that quickly spirals into chaos.