Noah Baumbach’s latest boasts wonderful performances from an all-star cast, but can’t quite decide what it wants to be.
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Noah Baumbach’s latest boasts wonderful performances from an all-star cast, but can’t quite decide what it wants to be.
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Joachim Trier’s latest is a one of the year’s best, a staggeringly poignant and emotionally complicated story of family, art, and their intersections.
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Richard Linklater’s chronicle of the making of Godard’s “Breathless” is a charming valentine to the creative process, though some of its notes are a touch obvious.
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Scott Cooper’s portrait of the Boss is exactly the kind of cliché-ridden, by-the-numbers biopic that it looks like.
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Kelly Reichardt puts her distinctive spin on the heist movie with this deft, downbeat entry into the genre.
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Luca Guadagnino’s university-set drama is basically a movie-length lecture by a mediocre professor.
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Dwayne Johnson wins with blood, sweat, and tears, but everyone else takes a loss in Benny Safdie’s MMA drama.
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Andrew Durham’s adaptation of Alysia Abbott’s memoir covers well-trod ground, but with enough specificity (and fine performances) to stand out.
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Paul Thomas Anderson’s latest is the movie of the moment, a thrilling stew of social commentary, pointed cynicism, and unapologetic thrills.
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This chilling documentary has crime show ‘To Catch a Predator’ and its knockoffs in its sights.
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This Stephen King adaptation is a gripping, grueling experience, anchored by performances from Cooper Hoffman and David Jonsson.
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The leading man in this rom-com deserves to be dumped.
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