Amy Berg’s It’s Never Over, Jeff Buckley plays like someone finally sat you down and said, “Okay, here’s the real story — not the myth, not the Tumblr version, the human one.” And honestly, it works. You can stream it on HBO / Max, which feels about right for a documentary ...
There’s a particular electricity to the early ’90s that you can’t fake — that mix of restlessness, sincerity, and cigarette‑smudged ambition that lived in every club, every rehearsal space, every half‑finished song. Amy Scott’s documentary Counting Crows: Have You Seen Me ...
Directed by Nicholas Michael Jacobs—whose works include Night (2019), Urban Fears (2019), Tales from Six Feet Under (2020), and Genevieve (2021)—CAPA Ghostbusters: Director’s Cut feels like a full-circle moment for the filmmaker, and that’s pretty damn ...
The film actually kicks off with the “Big Guy” gag — a classic Bikini Bottom hustle where SpongeBob tries (and fails) to convince the universe he’s finally grown into someone who can handle capital‑A Adventure. It’s goofy, it’s fast, it’s proudly unserious, and it immediately ...
And here it is, a haunting indie gem for dedicated horror fans has arrived thanks to the brilliant ratcheting of tension in To Die Alone, written and directed by Austin Smagalski. The point is, Horror Hounds, if you’re into indie scares that actually stick with you, To Die ...
If there’s anything The Housemaid gets right from the get-go, it’s that a film’s title must work overtime. Helmed by Paul Feig — he of Bridesmaids chaos and Freaks and Geeks heart — the film takes great pleasure in scrubbing away at domestic bliss until it shines with menace. Prepare ...
You know that moment in a movie when a drunken sibling bursts through the front door waving a half-empty bottle like it’s a trophy? All Saints Day kicks off right there, with Ronan’s older brother Kier teetering somewhere between “party legend” and “hospital visit pending.” The ...
There’s an old showbiz adage that says if you can’t stick the landing, at least make sure you fly spectacularly. Wicked: For Good, Jon M. Chu’s glossy follow-up to last year’s unexpectedly charming first installment, certainly flies — often, loudly, and with an avalanche of ...
“People think they’ve seen small-town drama. You haven’t seen anything until you’ve seen a leg lamp start a war.” FRAGILÉ opens like someone just handed Gen X a time machine, a snow globe, and a remote control permanently stuck on A Christmas Story reruns. From the first frame, the ...
Picture this: the bounty hunters think they’ve finally trapped the resurrected killer in the busted‑up midway. Lights are flickering, the carousel’s groaning like it’s about to collapse, and then Robert Mukes—looking like a slasher action figure that somehow came to life—steps out ...
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