The Devil Wears Prada 2 is a master class in sequels. While fans have been begging for the return to Runway, the story of waiting 20 years is exactly what was needed. The film is a sequel built on patience, not nostalgia bait, and that restraint pays off. When we last saw Andy Sachs (Anne
When Steven Knight’s excellent gangland tale Peaky Blinders wrapped its sixth series, it was a mighty satisfying end to the story of Tommy Shelby. A sober Arthur Shelby (Paul Anderson) avenged Aunt Polly (Helen McCrory) by killing Captain Swing, but he skipped out of a farewell meal with brother
Sports are truly the last colossus left in our pop culture landscape. It’s a holdover from when video did away with the radio star and everyone gathered around to have the monoculture laid out before us. Goat is an animated feature that reminds older viewers what the thrill of having that first
Queens of the Dead had its Los Angeles premiere at BeyondFest at American Cinematheque on Sunday. The film marks the directorial feature debut of Tina Romero, daughter of George A. Romero. The elder Romero was a legendary filmmaker known for helming zombie movies. Night of the Living Dead, Dawn of
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Biopics about musical icons can make for very compelling films. Tina Turner's life was explored in explicit and ultimately triumphant detail in What's Love Got To Do With It? while the heart of Selena Quintanilla Perez was captured to its fullest in Selena. Some feature great performances, but the
Lost in the Reel's video review for Mona Lisa and the Blood Moon Writer/Director Ana Lily Amirpour is one of those filmmakers that's voice, vision, and vibe is so distinctly her own… that it's impossible not to get excited about a new project from her. Yet she returns with her third feature,
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
