Yasmine Kandil

Filmmaker Andrew Dominik breaks down his most daring visual choices in Blonde and what the legacy of Marilyn Monroe means to him.

The Son is sadly a disappointing follow up for Oscar-winner Florian Zeller, not even Hugh Jackman or Laura Dern can salvage this.

Blonde is a biopic unlike no other held together by unwavering dedication and strength from Ana de Armas as Marilyn Monroe.

Cars on the Road proves that Lightning McQueen and Mater still haven’t lost their charm and have found a new home on Disney+.

Tatiana Maslany explains why the role of She-Hulk fit her specific expectations for a comic book project and joining the MCU.

Don’t Worry Darling is an effective and radiant crowd pleaser that elevates Florence Pugh’s mantle as a bonafide movie star.

The Whale boasts Darren Aronofsky’s trademark claustrophobic style but feels slightly outdated with its depiction of obesity.

Bones and All is a coming-of-age triumph, Taylor Russell and Timothée Chalamet are to die for in Luca Guadanino’s instant classic.

Bardo is Alejandro González Iñárritu shooting for the stars in the most personal way, but it’s a bit too bloated for its own good.

Noah Baumbach stays faithful in adapting Don DeLillo’s White Noise novel but misses the mark on making a coherent and engaging film.