Marketed as a throwback to mid-aughts parody fare like the "Scary Movie" films, "The Blackening" is both more interesting and less laugh-out-loud funny.
"The Walking Dead: Dead City" has some great moments, but even the talents of Lauren Cohan and Jeffrey Dean Morgan can't distract from how unnecessary it feels.
"Elemental," which tells the story of fiery Ember and watery Wade, isn't Pixar's best. But it has a lot to offer — especially when it comes to worldbuilding.
The final season of "Never Have I Ever" is a perfect amalgamation of the things that high school girls tend to be concerned with, and overall it's fantastic.
Directed by Eva Longoria, "Flamin' Hot" tells the story of how one man revolutionized Cheetos. Can it be a good movie if that story isn't entirely true?
This skewering of the true crime entertainment industry has a great premise, but its execution leaves something to be desired. Our review of the Peacock series.
In its 16th season, "It's Always Sunny" continues to delight fans even as it routinely pushes the buttons comedy's elder statesmen claim you can't anymore.
Tom Holland and Amanda Seyfried lead a cast of talented performers whose work is squandered on muddled storytelling and a misguided attempt at mystery.
Every once in a while, an achingly romantic drama comes along that reminds you what the genre is capable of. Celine Song's "Past Lives" does just that.
This adaptation of Stephen King's short story from "Host" director Rob Savage is a fun time, even if it doesn't break any new ground in the realm of terror.
Not a lot of Netflix's original series "FUBAR" works as well as it should, but there's no denying the X factor of seeing Arnold Schwarzenegger back in action.
Seth Rogen and Rose Byrne play a charming pair of friends in "Platonic," a surprisingly heartwarming AppleTV+ original sitcom about getting your life together.
Although the second act of "Monster" is slightly less gripping than the first and third, the mystery in the film continually challenges your assumptions.
"Master Gardener" finds Paul Schrader returning to a well that's become increasingly familiar in his recent work like "First Reformed" and "The Card Counter."