Andrew Haigh’s intimate, time-bending romance is worth the ugly cry.
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Andrew Haigh’s intimate, time-bending romance is worth the ugly cry.
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Though Sean Durkin’s latest is undeniably well-acted and beautifully made, the dramatic lives of the wrestling Von Erich family make for oddly undramatic storytelling.
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Who could’ve imagined that such a creatively bankrupt idea would yield one of the year’s most charming films?
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Yorgos Lanthimos’s latest is a bit of a one-joke movie, though to be fair, it’s an awfully good joke.
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The new film from Ava DuVernay is a well-meaning letdown looks like it was made to play in every middle school that isn’t scared to show students something that resembles critical race theory.
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William Oldroyd’s adaptation of Ottessa Moshfegh’s novel is a wickedly entertaining mash-up of psychological thriller, film noir, and lesbian pulp.
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Todd Haynes still surprises with this blackly comic drama inspired by the Mary Kay Letourneau scandal.
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Ridley Scott’s latest is more than it appears, a sly comedy and psycho-sexual drama wrapped in a historical epic’s clothing.
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Emerald Fennell’s “Promising Young Woman” follow-up boasts fine performances and some memorable dialogue, but simply can’t sustain its clever premise.
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Colman Domingo has a blast as gay Black activist Bayard Rustin in George C. Wolfe’s “Rustin,” quite possibly the jazziest civil rights movie ever made.
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David Fincher’s latest Netflix piffle is stylish as hell – and just as empty.
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This A24 film can’t maintain the level of either its wild concept or its lead performance from Nicolas Cage.
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