At twelve half hour episodes, the short film anthology well overstays its welcome, but finds brilliance in the occasional story thanks to a winning cast.
The quality of the stories fluctuate wildly, but when AT HOME hits, it knocks it out of the ballpark.
The premise is great, the cast decent, and Netflix already has a pedigree with fantasy content. So why is the result such a mess?
Important and deeply compassionate, SHOWBIZ KIDS nevertheless can’t see the woods from the trees and stumbles in an effort to talk about everything at once.
Lead by an always reliable performance by Tom Hanks, GREYHOUND is a smart, slick, and a decidedly unglamorous war film.
Pretty production values and a decent cast can’t hide the fact that this adaptation of Aldous Huxley’s dated text has little to contribute for the present.
A potentially exciting story about immortality on an endless battlefield is wasted on a clunker of a script that even the game cast cannot save.
A mean spirited, mercilessly unfunny, and aggressively awful film about punching down that makes you root for eternal social distancing.
Meticulously crafted and beautifully composed, I’LL BE GONE IN THE DARK is still misguided and often troubling in its desire to sensationalize tragedy.
Poorly directed, convoluted, and edited to within an inch of its life, WASP NETWORK is a film that doesn’t work on any level beyond its great cast.