Rory Doherty

Joy doesn't trust its audience's intelligence and won’t let us forget for a second how momentous their scientific breakthrough is and how relevant its social pushback is for us today.

Like Andrea Arnold’s best films, Bird feels spontaneous but also carefully considered. The film is most confident and engaging when its creative energies focus on Nykiya Adams' reactive and sparky lead performance.

Rumours lampoons the po-faced affirmations of progress and unity that fill our airwaves (while the planet burns) by asking respectable, commanding actors to make world leaders look incredibly silly as they scramble to respond to a global threat.

Bring Them Down dips its toes enough in philosophical themes to make it a noteworthy debut and shows plenty of keen thriller instincts without devolving into turgid, violent stupidity.

Despite starring fan-favorite actors Florence Pugh and Andrew Garfield, We Live in Time collapses under its eagerness to move and impress us, overusing the "interpolated relationship timeline" trope 

Britain has fetishized the “Blitz spirit” mantra of keeping calm and carrying on, and if there was a filmmaker perfect for demythologizing the bombings, it’s Steve McQueen. That he doesn't is what makes Blitz so disappointing.

Slow Horses Season 4 Says “Hello Goodbye” in a finale that would be more aptly titled “The Many Dads of River Cartwright.”

The penultimate episode of any thriller series is always a great place to take stock. Slow Horses' “Grave Danger” mirrors the second-to-last episodes of the past seasons – crucial exposition, stakes dialed up to maximum voltage, and a full shift to