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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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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Riz Ahmed continues to impress, not only as an actor but writer, in Bassam Tariq’s hip-hop infused drama.
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Marvel’s latest is refreshingly light and fast-paced, and (mostly) free of the copious lore that has weighed down much of the franchise.
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Nia DaCosta’s ‘Candyman’ remake is sharp, scary, thoughtful – and a vast improvement over the 1992 original.
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The over-the-top comedy (new on Hulu) offers up a handful of laughs and some missed opportunities.
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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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The gun-blazing action vehicle has all the depth of a throwaway programmer, but little of the pleasure.
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Surprisingly enough, ‘Free Guy’ is a witty, thoughtful, and engaging piece of pop entertainment.
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Leos Carax’s Cannes award-winning Sparks musical is delightfully daft, unapologetically operatic, and frequently spellbinding.
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The debut feature from director Pascual Sisto is impressively crafted, if a bit too heavy-handed with its influences.
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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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Edson Oda’s Sundance drama is ambitious but messy, with a solid premise and winning performances often undermined by flimsy writing.
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