John Boorman’s 1972 backwoods thriller (now streaming on HBO Max) remains a potent and powerful work – a revenge movie with a twist.
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Clint Eastwood’s latest stumbles a bit on its way out of the gate, but eventually settles in as an enjoyable and even moving character-driven drama.
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Michael Showalter’s seriocomic biopic has its share of missed opportunities, but the performances (particularly Jessica Chastain in the title role) bring it home.
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More from the Venice Film Festival, including reviews of the horror sequel “Halloween Kills,” Paolo Sorrentino’s “The Hand of God,” and the Damon and Affleck reunion “The Last Duel.”
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Our first dispatch from the Venice Film Festival, with looks at the Golden Lion-winning “Happening,” the winking satire “Official Competition,” Ana Lily Amirpour’s “Mona Lisa and the Blood Moon,” and the sublime “Reflection.”
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Our mini-reviews of ‘Dark Blood,’ ‘Death Drop Gorgeous,’ ‘Giddy Stratospheres,’ and more:
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Peter Bogdanovich’s 1972 screwball comedy has its problems, but it also has Babs.
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The new-to-Netflix action flick may be built from recycled parts, but Mary Elizabeth Winstead gives it the lift it needs.
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The new drama from Paul Schrader is a return to his familiar themes and preoccupations, but rendered with urgency, sensitivity, and a fair amount of narrative danger.
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‘Sopranos’ creator David Chase only penned two theatrical films before the upcoming ‘Many Saints of Newark’ – but both share fascinating common themes with his best known work.
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This month’s look back at the cinematic misdemeanors of Harvey Weinstein collides with his real-life crimes.
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The Alan Arkin-directed Elliott Gould vehicle, now streaming as part of Criterion Channel’s “New York Stories” series, is the comic equivalent of grimy classics like ‘Taxi Driver.”
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