The Protégé ignites a need to relive the summer of 2006 in Vietnam, when the third Mission: Impossible was released. Despite having Tom Cruise and the M:I brand, none of the two was necessarily—or eve…
‘Snake Eyes’ review: Clear-sighted, full-hearted, then loses
At the start of the screening, Snake Eyes’ lead Henry Golding appears on the screen, beaming-smiled and mellow-voiced, thanking theatergoers and the people behind the film. There is a notable emphasis…
Best Video Games of 2021 So Far
Halfway through 2021 already, eh? While things in the world slowly return to normalcy, we enter the summer with a great showing of new games to play in our downtime here at TYF. We’ve already seen eme…
‘The Ice Road’ review: Along came a semi with a basic, creaky load
The “What year is it?” energy is intense this year as film after film claims or functions like they’re throwbacks. Off the top of one’s head, a great one is The Djinn, the claustrophobic horror …
‘Separation’ review: Let go of it for a better life
Although his face is as regal as can be, Jeff (Rupert Friend) is not the king of the brownstone in Separation, the newest horror film from William Brent Bell. No longer a successful comic book artist,…
‘Chaos Walking’ review: It is, or is still, disaster unfolding
Still have room for earth-shattering news in your being? Here’s one more to register: Chaos Walking is upon us. Really, this time. Really. And yet, after all the second chances in the forms of delays …
‘For the first time’ review: Black Country, New Road’s debut full-length is thrilling, experimental
“Hype kills art.” It’s a statement that has become increasingly apparent in the age of online entertainment discourse. In the music world, even more so. An artist receives a slew of …