The anti-climactic climax, though, rescues the film from obnoxious whimsicality.
Burnett discusses why it remains so important to show Black life as it is.
This is a hodgepodge of jump scares and disturbing imagery in search of a cohesive story.
If the film communicates a political stance, it’s against the colonial ambitions of Great Britain.
A spirit of restless reinvention characterizes Tortorici’s aesthetic approach.
Marvel gives its first family the expansive and heartfelt big-screen treatment it deserves.
After its very promising opening act, the film gets silly fast.
Assayas’s film is a personal ode to the allure of life beyond our personal screens.
The film also stars Ayo Edebiri, Andrew Garfield, Michael Stuhlbarg, and Chloë Sevigny.
This new I Know What You Did Last Summer is truly a copy of a copy.
Its pastiche of Into the Spider-Verse is revealed to be nothing more than window dressing.
Aster discusses what his pandemic-era dark comedy has to say to audiences in 2025.
Saint Clare’s split personality is apparent from the start.
The film reveals—and urges on—a historical shift in how we relate to other living beings.
Davenport is dead-set, so to speak, on putting the blame for a broken system where it belongs.
Alexandra Simpson’s film fluctuates between dreamy ennui and slowly escalating dread.
Not for nothing does Eddington arrive with the tagline “Hindsight is 2020.”
The film’s action sequences showcase Gunn’s gift for large-scale but coherent spectacle.
The film is at its best when it’s keyed to its main character’s breakneck energy.
The film’s lightness and sense of wonder is befitting an evening of blissful dreams.
The film adopts a diaristic, epistolary form that flattens its emotional topography.