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Our Favorite Films of the 2010s Directed by Women
Film Frame Friday: Your Name. (Kimi No Na Wa.)
In Defence of ‘Neon Genesis Evangelion’s Shinji Ikari
TV Settings: A Guide to Getting The Most Out of Your Movies
‘The Lion King’ Review: Jon Favreau’s Remake Sucks The Life Out of an Animated Classic
Reviews
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Reviews
Latest reviews from all era of film.
‘1917’ Review: Sam Mendes and Roger Deakins Deliver a Staggering Technical Achievement
‘Queen & Slim’ Review: Melina Matsoukas Amasses Love Through Struggle
‘Harley Quinn’ Review: Harley Moves Out of Joker’s Shadow
‘Instinct’ Review: An Excruciatingly Honest and Astonishing Exploration of Sexual Violence, Consent and Voyeurism
‘His Dark Materials’ Season 1, Episode 3 “The Spies” Review: Revelatory, Lavish, and Intimate
‘The Crown’ Season 3 Review: Netflix’s Dazzling Tiara has Lost its Shine
‘Charlie’s Angels’ Review: A Surprisingly Genuine Reboot
‘His Dark Materials’ Season 1, Episode 2 “The Idea of North” Review: An Exploration of the more Sinister Aspects of the Series
‘Midway’ Review: Roland Emmerich’s Hollow War Film Nosedives into Forgetfulness
‘Doctor Sleep’ Review: An Exploration of Trauma and Recovery
‘His Dark Materials’ Season 1, Episode 1 “Lyra’s Jordan” Review: A Bewitching First Installment
‘The Components of Love’ Review: A Familiar Examination of a Failing Relationship
‘Fanny Lye Deliver’d’ Review: Sex, Sin and the Seventeenth Century
‘Vivarium’ Review: Imogen Poots Shines In Otherwise Unremarkable Sci-Fi Satire
‘Rare Beasts’ Review: Billie Piper’s Directorial Debut Is a Deeply Flawed but Ambitious Look at Modern Love
‘Calm With Horses’ Review: A Seemingly Familiar Gangster Story Elevated by Cosmo Jarvis
‘Judy & Punch’ Review: Mirrah Foulke’s Fairy Tale Satire Is All Bark and No Bite
‘Bliss’ Review: A Punk Rock Rendition of the Vampire Archetype
‘She-Ra and the Princesses of Power’ Season 4 Review: Vulnerability and the Messiness of Being a Hero
‘Forman vs. Forman’ Review: Remembering A Distinguished Director
‘Greener Grass’ Review: Comic Duo Jocelyn DeBoer and Dawn Luebbe Highlight the Metallic Rictus of Bubbly Suburbia
‘Rattlesnake’ Review: Zak Hilditch Delivers a Strong Premise Devoid of Tension
‘Bacurau’ Review: A Poignant and Violent Tale of Resistance
‘The Whistlers’ Review: Catrinel Marlon Stands Out in this Attempt to Reinvent Neo-Noir
‘The Beach Bum Review’: Harmony Korine Revives the Spirit of America Cinema
‘Ordinary Love’ Review: Lesley Manville and Liam Neeson Create an Illusion of Love
‘Monsoon’ Review: A Pensive Exploration of Cultural Dislocation
‘Ema’ Review: Pablo Larraín Dazzles and Puzzles with a Dreamlike Seduction that Defies Expectation
‘The Painted Bird’: A Boy’s Relentless War Odyssey Puts Your Stomach to the Test
‘BoJack Horseman’ Season 6 Part 1 Review: The Final Season Kicks Off with Consequences and Contemplation
‘Ford v Ferrari’ Review: Toxic Masculinity at Its Most Fun, Vintage Bravado at Its Most Cinematic
‘Marriage Story’ Review: Noah Baumbach’s Moving Ode to Failed Love Is a Powerful Showcase for Adam Driver and Scarlett Johansson
‘Babyteeth’ Review: Shannon Murphy’s Debut Feature is a Bittersweet Embrace of Familial Dysfunction and Hope
‘White Riot’ Review: Rubika Shah’s Rip-Roaring Rock Doc Raises A Fist Against 20th Century Hate
‘Sibyl’ Review: Justine Triet’s Latest is a Beautiful Mess of Emotions
‘Little Monsters’ Review: Even Lupita Nyong’o is Not Enough to Bring this Lumbering Zombie Comedy to Life
‘A Beautiful Day in the Neighborhood’ Review: Tom Hanks Provides a Deeply Touching Window Into the Mind of Fred Rogers
‘Gemini Man’ Review: Ang Lee’s Ambitious Tech Demo Elevates an Otherwise Unremarkable Will Smith Action Movie
‘Saint Maud’ Review: Have Faith in Rose Glass’ Audacious Debut
‘The Aeronauts’ Review: Felicity Jones and Eddie Redmayne Reunite in a Victorian-Era Version of ‘Gravity’
‘Uncut Gems’ Review: Adam Sandler Shows Us How He Wins in the Latest Manic Masterwork from the Safdie Brothers
‘First Cow’ Review: Kelly Reichardt Brings ‘Old Joy’ to the Old West
‘Varda by Agnès’ Review: A Final Film but Not a Farewell From the Matriarch of Cinema
‘Knives Out’ Review: Rian Johnson’s Latest Brings Clue to Life in a Whimsical Whodunit
‘Jojo Rabbit’ Review: An Anti-Hate Satire That Doesn’t Need the Satire
‘Fourteen’ Review: A Dialogue-Driven Portrait of Friendship Burdened by Depression
‘The Personal History of David Copperfield’ Review: Armando Iannucci’s Latest is a Sweet Affair Lacking in Substance
‘The Two Popes’ Review: Anthony Hopkins and Jonathan Pryce Deliver a Thoughtful Meditation on Religion and Spirituality
‘The Report’ Review: Adam Driver and Annette Bening are Magnetic in Scott Z. Burn’s Latest C.I.A Drama
‘Joker’ Review: A Formidable Villain Within an Unworthy Narrative
‘Just Mercy’ Review: Michael B. Jordan and Jamie Foxx Command the Screen in a Sturdy but Generic Legal Drama
‘The King’ Review: A Split Kingdom of Competency and Mediocrity
‘Itsy Bitsy’ Review: A Creature Feature Full of Family Drama
‘Zombi Child’ Review: Bertrand Bonello Explores the Horrors of Colonialism in an Ambitious, Frustrating Misfire
‘The Juniper Tree’ Review: Björk Beguiles in Her Bergman-esque Debut
‘Leap of Faith’ Review: Insights don’t come more entertaining than this
‘The Truth’ Review: Kore-eda’s Latest is a Soft Love Letter to Mothers and Daughters Everywhere
‘Proxima’ Review: Winocour’s Latest Subverts the Canon of the Traditional Space Film
‘The Irishman’ Review: Martin Scorsese’s Latest is a 209 Minute Epic Examining How the Desire for Complete Authority Rots a Man’s Existence
‘Workforce’ Review: Class Conflict Begets a Refreshingly Unpredictable Slow-Burn Fable
‘Waves’ Review: A24’s Latest Floridian Dreamscape Crashes Down on You Then Carries You Back to Shore
‘Deerskin’ Review: You Can Pull Off Any Look if You Try Hard Enough
‘Isabelle’ Review: An Uninspired Exploration of Grief and Ghosts
‘Atlantics’ Review: Mati Diop’s Feature Debut is More Than a Supernatural Romance
‘Coup 53’ Review: Amirani’s 53 ideas refuse to coalesce
‘The Politician’ Review: School Halls Become a Battleground in Ryan Murphy’s Tiresome Netflix Series
‘Waiting for the Barbarians’ Review: A Sleepy, Disappointing Adaptation
‘Motherless Brooklyn’ Review: Why Edward Norton Can’t Do Neo-noir
‘Ad Astra’ Review: Brad Pitt Soars in James Gray’s Powerful Exploration of Despair
‘Honey Boy’ Review: A Painfully Honest Take on Trauma
‘Monos’ Review: A Stirring Presentation of Child Warfare
‘Bombay Rose’ Review: A Beautiful Dish With Too Many Flavors
‘Hustlers’ Review: Lorene Scafaria’s Rousing Crime Epic Takes on American Inequality
‘Downton Abbey’ Review: A Glamorous Farewell to One of Television’s Finest
‘The Goldfinch’ Review: A Second-Rate Adaptation Better Suited for the Page
‘Chained for Life’ Review – An Original and Charming Film About How We Look at One Another
‘Bad Education’ Review: A Brilliant Look Into White Collar Crime
‘It: Chapter Two’ Review: Pennywise Returns for a Thrilling but Overstuffed Second Act
FrightFest 2019: ‘The Black String’ Review – Evil Is Skin Deep In Frankie Muniz’s Return to Acting
Locarno Film Festival: Ham on Rye Review – A Surreal Meditation on the Coming-of-Age Experience
FrightFest 2019: ‘A Good Woman Is Hard to Find’ Review – A Gritty, Realistic Revenge Thriller
FrightFest 2019: ‘Happy Face’ Review – An Exploration of the Person Behind The Face
FrightFest 2019: ‘Deadcon’ Review – A Modern Horror That Misses The Mark
FrightFest 2019: ‘The Perished’ Review – An Emotionally Charged Blend of Social Issues and Horror
FrightFest 2019: ‘Kindred Spirits’ Review – An Uncomfortable Psychological Thriller
FrightFest 2019: ‘Sadistic Intentions’ Review – A Slow Paced Horror That Lacks Excitement
FrightFest 2019: ‘I’ll Take Your Dead’ Review – An Original Heartfelt Horror
‘Tigers Are Not Afraid’ Review: A Dark Twist on the Typical Fairy Tale
‘Weathering With You’ Review: An Intoxicatingly Gorgeous Melodrama
‘The Dark Crystal: Age of Resistance’ Review: A Mythology-Filled Prequel that Embraces Hope and Darkness
‘Los Espookys’ Season 1 Review: Finding Authenticity in the Surreal
‘Orange Is the New Black’ Season 7 Review: The Final Goodbye
‘Where’d You Go, Bernadette’ Review: A Tedious Glimpse at the Troubles of the Privileged
North Bend Film Fest 2019: ‘Villains’ Review – A Home Invasion Gone South
North Bend Film Fest 2019: ‘Feral’ Review – A Time Lapse of the Forgotten
North Bend Film Fest 2019: ‘Extra Ordinary’ Review – Tapping into Another State of Being
North Bend Film Fest 2019: ‘Koko-di Koko-da’ Review – A Reoccurring Nightmare Influenced by Folklore, Fables, and Grief
‘End of the Century Review’: A Powerful and Honest Gay Romance
‘The Kitchen’ Review: Ordering ‘Widows’, Ending Up with Stale Lunchables
‘Scary Stories to Tell in the Dark’ Review: A Thrilling, Impressive Gateway Into the Horror Genre
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