Ostensibly a remake of the 1993 Sylvester Stallone actioner “Cliffhanger,” Taylor Sheridan’s disappointing “Those Who Wish Me Dead” does little right while keeping originality at arm’s length.
Revenge movies appeal to us on the most primal level, providing vicarious thrills through a sheen of righteousness that allows us to justify our enjoyment of the violence on display.
With this year’s Oscar ceremony being the least-watched and lowest-rated ever, it seems as though the Academy of Motion Picture Arts and Sciences has gone from #OscarsSoWhite to #OscarsSoWhat.
Can you identify the screenshot of this home from a movie or TV show?
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I really hate green peppers. I have no problem with the orange, red or yellow varieties, but those green ones! No thanks. I can detect the slightly acrid taste of this seemingly innocent vegetable in anything it might be in. Even the most minute amount manages to permeate and ruin any pasta …
Urbana Public Television is being honored once again — this time with two awards at the ninth annual Best of the Midwest Media Fest and Awards Show recognizing best community access TV programs in the Midwest.
For the millions that must have been spent on sets, machine guns, blank rounds of ammunition, pyrotechnics and everything else that’s needed to blow things up real good, Stefano Sollima’s “Tom Clancy’s Without Remorse” is a surprisingly boring affair.
Moral dilemmas abound in Joe Penna’s “Stowaway,” a space adventure that’s less about cosmic spectacle and more about crises of conscience the crew of a spaceship traveling to Mars must face.
Most folklore deals with humans and fantastic creatures purportedly inhabiting the country in which the lore arises, but Irish folklore exhibits a notable exception.
CHAMPAIGN — It was at the end of shooting a long scene of “Red Ball” — a movie written, acted in and edited by University of Illinois students — when the cast, crew and supervising faculty came to a realization.
I have a hard time remembering when my feelings for a film fluctuated as much as they did while watching Argyris Papadimitropoulos’ “Monday,” a love story, sex romp, domestic drama hybrid that — big surprise — can’t decide what it wants to be.
Vaughn Stein’s “Every Breath You Take” is a film of the most frustrating sort, a movie that sports a talented cast and begins with an interesting premise, only to fall apart.
Sadly, Ricky Staub’s “Concrete Cowboy” has an all too familiar ring to it, as it recounts the story of an angry young Black man, his estranged father and the temptation of the streets, where cheap yet dangerous salvation lies.
Screen Gems is employing a rather inspired, slightly blasphemous approach in distributing Evan Spiliotopoulos’ “The Unholy,” a modest thriller about miracles occurring in a small Massachusetts town.
Gloriously stupid and shamelessly over the top, Adam Wingard’s “Godzilla vs. Kong” is the sort of popcorn entertainment that’s been absent for far too long on the big screen.
Having impressed as sleazeball lawyer Saul Goodman in “Breaking Bad” and “Better Call Saul,” Bob Odenkirk takes on an unexpected role — domestic avenger.
Zack Snyder’s efforts to complete his version of 2017’s “Justice League,” which he left in mid-production due to his daughter’s suicide, had been ongoing for over two years.
Phoenix is still figuring out where exactly to serve the alcohol from, as they’re considering a small bar by the arcade room or along the concession stand.