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.
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Tom McCarthy’s latest is a tricky but rewarding picture, complicating our notions of rugged American individualism (and Matt Damon’s screen persona).
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This horror comedy has a juicy premise and some gifted performers, but it never quite comes together properly.
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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.
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The rise and fall of WeWork could make for a compelling documentary, but the new Hulu feature isn’t it.
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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.
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Apple TV+’s new Billie Eilish documentary offers extensive access, copious music, and even some thought-provoking material on fame and fandom.
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Shaka King’s dramatization of the murder of Fred Hampton is a rare historical drama that pulses with the urgency of now.
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Frank Oz’s Hulu documentary captures a Broadway performance of DelGaudio’s one-man show, in a manner that preserves the production’s surprises and secrets.
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The hotly hyped sequel to Patty Jenkins’s superhero smash (streaming Christmas Day on HBO Max) is a well-intentioned muddle, overstuffed with missed opportunities.
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Darius Marder’s directorial debut is an intense character drama and unnervingly immersive viewing experience.
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The new follow-up to the delightful 2013 animated feature offers, sadly, nothing more than more of the same.
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