Despite fantastic performances from Elizabeth Olsen and Jesse Plemons, Love & Death falls into the worst tendencies of true crime.
Author: Anna Miller
Anna Miller
Anna Miller is a critic and film lover who contributes to DiscussingFilm as well as Filmotomy and AwardsWatch. She carries a passion for international cinema and stories that put a spotlight on striving female voices. When she's not writing, she spends her time traveling or partaking in photography and directing, always with a coffee in hand.
Beef on Netflix takes over-the-top absurdity to the next level and makes it work thanks to Steven Yeun and Ali Wong’s performances.
Run Rabbit Run poorly steals all of its elements of psychological horror from better films, not even Sarah Snook can save this dud.
Eileen is an enchanting and deeply twisted noir that boasts career best performances from Thomasin McKenzie and Anne Hathaway.
That ’90s Show might have its cute moments, especially with Kurtwood Smith and Debra Jo Rupp, but it’s entirely forgettable.
Wednesday isn’t really ground-breaking for Netflix originals but Jenna Ortega still pays great tribute to the Addams Family legacy.
We break down how Bodies Bodies Bodies uses the horrors of social media and technology to critique its target audience in Gen Z.
The Wonder is a cautionary period tale that won’t be easy to forget thanks to yet another powerhouse performance from Florence Pugh.
Causeway sees Jennifer Lawrence pull off a new career best performance in the most challenging dramatic role she’s faced so far.
My Policeman is a shallow example of queer representation that deserved much more nuance and far better acting. Sorry Harry Styles.