Here’s the next great horror movie. A Gothic tale, very sparely told, that only flirts with the supernatural because it finds the human psyche of its main character so much more terrifying.

Christopher Plummer is no longer. His family confirmed the news. The three-time Oscar nominee, and one-time winner, died peacefully at his home in Connecticut alongside his wife Elaine Taylor. What a loss.

HBO is set to pull-off another heavily-biased accusatory documentary, purposely avoiding facts to further drive an obvious agenda, such as they did with the embarrassing “Finding Neverland.” This time around it’s he scandal and drama of “Allen V. Farrow.

The Screen Actors Guild committee of 2,500+ voters has announced its nominees for their upcoming 2021 ceremony. The usual suspects were there, but there were also some major omissions and unusual surprises.

Ben Hozie’s “PVT Chat” stars Julia Fox, who turned a lot of heads in last year’s “Uncut Gems,” but even in the wake of that movie, she goes for broke here, pulling out all the stops as a leather-clad cam girl/femme fatale in Hozie’s film. “PVT Chat” defies description as it keeps its focus on a wide-eyed burnout (Peter Vack), with a talent for online blackjack and the dominatrix (Fox) he meets in a chat room and masturbates to during private calls every night. When the opportunity for an in-person meeting starts to get flirted with, doubt arises, mistrust comes into the game and reality hits our protagonist like a sledgehammer.

This was a very big day for Netflix as the two films with the most Golden Globe nominations were distributed by the streaming giant. David Fincher‘s “Mank” (6 noms) and Aaron Sorkin‘s “The Trial of the Chicago 7” (5 noms). Cue in the millions of people who will now sign into their Netflix accounts and watch these two movies.

Apologies for this site being all about Sundance these last seven days, but, truth be told, not much is currently happening in the movie world. The future is uncertain for the potential of there even being a return to theatres this year. An all-digital Sundance was just what the doctor ordered, even if there was an expected dip in quality this year.

Ahmir “Questlove” Thompson’s filmmaking debut, “Summer of Soul (…Or, When the Revolution Could Not Be Televised)” is the kind of documentary that can actually change the shape of how history is written. It presents to the viewer never-before-seen footage from the Harlem Cultural Festival or what is otherwise known as “Black Woodstock.”

Actress Robin Wright, who previously directed 10 episodes of “House of Cards,” premiered her feature-directing debut “Land” tonight at the all-digital Sundance Film Festival.

Rebecca Hall’s directorial debut, “Passing,” is an adaptation of Nella Larsen’s 1929 novel of the same name, It’s a ballsy first film, a black and white melodrama that relies more on the hidden truths of its characters than any kind of formal plot. The motives of every character in this film can be questioned.

The risk of making a single-location drama, or otherwise known as a “chamber piece,” is risky in that it could suck the cinematic out of a film. The staginess that occurs when you attempt such a film can be seen as downright theatrical, a screenplay actually fit for the stage rather than the screen.

Ben Wheatley returns to genre cinema, after his questionable “Rebecca” remake, with “In the Earth.” What this latest film actually constitutes is the writer-director’s attempt to go back to his cinematic roots (“KIll List” and “A Field in England”), a time when he was a younger filmmaker, excited by the notion of creating art and enamored by his power to cast a horrific and unpredictable spell on audience. Sadly, it feels like the spark is missing here.

Childhood best friends form a suicide-pact in comedian Jerrod Carmichael’s feature-directing debut “On the Count of Three.” This is a dark buddy comedy, all over the place in its message, that struggles to find any sort of tonal coherence in its 80-minute runtime, but the sheer unevenness of the film is part of its schizoid charm.

Critics are shocked, aghast, by Spanish visual artist Pascual Sisto's “John and the Hole” (B) in which Charlie Shotwell an emotionless and psychopathic 13-year-old boy who decides to hold his parents and sister hostage in an unfinished concrete bunker, abandoned years earlier.