This week on Discovery we watched "The Sanctuary". For the first time this season I cannot point to one thing and say this was magnificent. The action was good, but not great. Of the performances and character arcs, no one's story really stood out. I can't say 'Oh, Burnham's story was Magnificent'
Spy Island follows super spy Nora Freud (no relation). Her mission? Keep an eye on things. Her problem? The island she’s stationed on is on the lip of the Bermuda Triangle, where anything can happen. Her other problem? This particular island is a den of intrigue, populated by spies, tourists, and
If you have not been reading the new Darth Vader comic series you have been missing out! Written by Greg Pak, Star Wars: Darth Vader #7 is the latest comic in this Marvel series that shows Vader on a quest looking for answers about his son Luke Skywalker and the death of his wife Padme. Little did
Anyone ever heard of Star Wars Detours? No? It's no surprise, since no one has aired it since its production. Ever since Disney bought up Lucasfilm, they've locked up this Star Wars animated parody series in their vaults and never looked back. With the leak of a single episode though, there may be
David Fincher presents, in a way that only he and few others could, the story of legendary screenwriter Herman J. Mankiewicz (AKA Mank) and his struggle to complete the screenplay for “Citizen Kane” in a mere 60 days at a retreat outside of Victorville, CA in the late 1930s.
WARNING: SPOILERS LIE AHEAD FOR CHAPTER 14 OF THE MANDALORIAN, IF YOU HAVEN’T WATCHED THE EPISODE, GO BACK AND WATCH IT! This is the way. Because of course Robert Rodriguez directed that episode. The one that felt the most like Mariachi and other action classics, was because it was made by a
Daemons of the Shadow Realm gives us some truly fateful meetings between old friends (and family) and new in Ep. 14 "Family and Friends". All complete with some dark secrets spilling forth out of the shadows, and Yuru's bond with his old friends and family being tested quite a bit. All in all, I
Cinema history is riddled with both coming-of-age tales and biopics aplenty. Tony, the new feature by Matt Johnson (BlackBerry, Nirvanna the Band the Show the Movie), lies at the intersection of these well-worn traditions. Based on Anthony Bourdain’s chronicles of his early journey into the
Indulging every absurd idea that pops into his head, the film unfolds with propulsive vibrance and unshackled execution. That approach turns out to be a bit of a gift and a curse for Riley; a gift in the sense that we get something fresh and original, but a curse because its unbridled approach
