The film seamlessly interweaves fun escapades and earnest emotions, but it lacks the visual power of its predecessor.
The film wastes its charismatic leads in a parade of wacky CG creations whose occasional novelty is drowned out by its incessance.
The series transforms a story that captured something of the experience of war into a familiar melodrama.
As it nears the end of its run, the series doesn’t seem to have much more to say about trauma.
The film is more interested in how people respond to extreme emotional crises than to everyday life.
There’s a surprising sense of communal exchange between the male strippers and their fans in Gene Graham’s documentary.
Joe Talbot's film is a melancholic reflection on gentrification and urban black experience.
An optimistic celebration of women and their ongoing liberation, the film remains moving, inspirational, and perhaps a shade too relevant.
Derek Jarman’s 1990 film isn’t without hope that we can regrow a paradise.
Criterion gives one of last year’s most deeply felt and beautifully shot films a rich transfer and a respectable set of extras.
It's an R-rated teen comedy that proves that you can center girls’ experiences without sacrificing grossness.
As a musical, Dexter Fletcher’s film is just fun enough to (mostly) distract us from its superficiality.
Featuring a searing performance from Anna Karina, the film much more than the scandal that made it famous in France.
In pushing so many seemingly crucial moments off screen, the film transforms its main characters into blank slates.
Zwick uses a popular artistic mode to stake out a moral and political stance that, if not radical, is at least forceful.
At the very least, Ryan Reynolds’s casting perfectly splits the difference between the adorable and the absurd.
The film’s relatively static approach to narrative works in scenes where the material is funny or elevated by a certain performance.
Below are some of the films, collections, and series that have already made the channel a vital service.
As it proceeds toward its telegraphed rom-com ending, the film becomes just more empty rhetoric, an ineffectual reiteration.
Rachel Lears’s film is a rebuttal to the position that Ocasio Cortez's election victory was an incidental event in American politics.