Before Peter Jackson brought The Lord of the Rings Trilogy to life, he built his career with hits that have become a bit underrated in the wake of that mythic undertaking. One such title is Heavenly Creatures - a true crime dramatization that chronicled murder at the hands of two teenage girls.
Typically, we don’t condone holiday erasure. As soon as summer starts to wind down, many people will start digging out their Christmas decorations and planning their annual explosion of winter holiday cheer even before Halloween has a chance to roll in like an eerie fall fog. But when it comes to
Lee tells the story of real-life American photographer Lee Miller, a former model who became an acclaimed war correspondent for Vogue magazine during World War II. Academy Award winner Kate Winslet stars in the film, which follows Lee’s photojournalism career during the war. As a feature, Lee had
Set in 1840s England, Ammonite tells the story of acclaimed but overlooked paleontologist Mary Anning (Kate Winselt). Mary works alone, selling fossils to tourists to get by. A chance job offer changes her life when a visitor hires her to care for his wife Charlotte (Saoirse Ronan). The two women
Sasaki and Peeps gives us plots galore being brewed up, as you might expect from Ep. 15 "Concealment and Infiltration" with that title. Complete with both the faking of a death and an undercover operation to investigate the death game faction. It's all great ingredients for some serious political
Sasaki and Peeps brings us one big magical SNAFU in Ep. 14 "Death Games and Demons", complete with a bloody fight and civilian deaths. As you might imagine, this is as huge a problem as the title suggests. And yet, it still falls short of a true action-packed episode due to the lack of action
Who could've guessed that a film about a stinky fisherwoman and a wicker husband would end up being one of the most romantic movies of the year? For all its vulgarity and absurdity, Wicker weaves a surprisingly sincere, shockingly sweet fable of against-all-odds love and a dismantling critique of
