Oh, how I wanted to like this movie so much. To start with, it has a charming concept, like crossing 2004’s “Shaun of the Dead”
Rocky 4 (1985)
Likely the most famous “Rocky” movie other than the original, this third sequel eschews most of what made the franchise’s previous entries superior, like well
Bojack Horseman (Season 6) (2019)
At this point, I’d argue that the relentless darkness and cynicism at the heart of “Bojack Horseman” is slowly becoming its undoing. What was once
Season of the Witch (1972)
Reminiscent of 1975’s “The Stepford Wives” in its impressively progressive feminist perspective (which is made particularly noticeable by the fact that both movies were made
The Comedy (2012)
This is one of those uneventful but screamingly meaningful little indies that manage to communicate an extraordinary amount of social criticism via tight shots, deliberate
Married… with Children (Season 1) (1987)
It’s a good thing that I’m familiar with the later, superior seasons of this long-running sitcom, or this first-time watch of the show’s inaugural season
Black Christmas (2006)
Glen Morgan’s remake of Bob Clark’s seminal 1974 slasher couldn’t have less to do with its source material if it tried. Other than the structure
The Girl with All the Gifts (2016)
Colm McCarthy’s adaptation of Mike Carey’s novel suffers from some of the same problems we see in other well-meaning but overstuffed book-to-film adaptations, like “Angela’s
Atypical (Season 3) (2019)
The third season of Netflix’s consistent, reliable comedy-drama manages to course-correct some of the previous season’s ever-present hostility towards Jennifer Jason Leigh’s Elsa, which became
The Little Mermaid (1989)
The beloved classic that launched a second Golden Age for Disney has aged extremely well, even with all the technical breakthroughs that have occured in
Haunted (Season 2) (2019)
The second season of Netflix’s paranormal reenactment show is an improvement over its not-bad first season. The showrunners present another six episodes that are each
Miss Bala (2011)
Gerardo Naranjo’s Mexican crime-drama has its heart in the right place, but it’s occasionally muddled and confusing to the point of distraction. It’s a damn
