Author: Kristy Puchko

Lisa Joy’s debut feature is an ingenious and ambitious mashup of sci-fi and neo-noir, with stellar performances to help sell its occasionally dodgy storytelling.

Tom McCarthy’s latest is a tricky but rewarding picture, complicating our notions of rugged American individualism (and Matt Damon’s screen persona).

This horror comedy has a juicy premise and some gifted performers, but it never quite comes together properly.

Guy Ritchie’s latest is a lifeless, listless, hopeless mess, with the once exciting writer/director (and his frequent star Jason Statham) merely going through the motions.

The rise and fall of WeWork could make for a compelling documentary, but the new Hulu feature isn’t it.

The Russo Brothers’ latest is a mess, a mishmash of visual and storytelling clichés, stranding a miscast Tom Holland in an embarrassing attempt at a Serious Crime Movie.

Apple TV+’s new Billie Eilish documentary offers extensive access, copious music, and even some thought-provoking material on fame and fandom.

Shaka King’s dramatization of the murder of Fred Hampton is a rare historical drama that pulses with the urgency of now.

Darius Marder’s directorial debut is an intense character drama and unnervingly immersive viewing experience.

The new follow-up to the delightful 2013 animated feature offers, sadly, nothing more than more of the same.

The comedy/horror mash-up from the director of ‘Happy Death Day’ boasts a deliciously clever premise – and squanders it.

Sascha Baron Cohen’s follow-up to his 2006 megahit leans a bit too heavily on familiar shtick, but wisely adds a comic secret weapon.

Tate Taylor’s latest low-energy thriller has a killer cast and workable premise, yet does absolutely nothing right.