On the occasion of Spider-Man: Brand New Day’s release, we ranked all the films in the MCU.
It’s confounding that writer-director Fernando Trueba fails to probe the film’s political implications.
The ending of Chon’s film hinges on a preposterous outcome borne from screenwriting opportunism.
It suggests a human-interest story where all the humanity has been gutted in favor of deadening narrative efficiency.
Mapping the intersection between history and emotion, Michael Almereyda finds himself in Alain Resnais terrain.
By the end, Toa Fraser’s film tellingly leaves the root causes of the militant group’s malcontent entirely unexplored.
The filmmakers discuss their ideas in an ardent repartee that’s quintessentially New York.
The Nut Job 2’s episodic plot is little more than a clothesline on which to hang manic action sequences.
The film’s onslaught of misery can look like a manipulative pile-on more than a candid assessment of strife.
Among other things, Plaza spoke to us about how having a stroke at age 20 has informed her work.
David F. Sandberg’s Annabelle: Creation is a haunted-house horror story that plays on our primeval fear of the dark.
It displays a vivid awareness of how domestic routines can spiritually ground one during a time of demoralizing chaos.
Naked besmirches the reasons that Groundhog Day’s Mobius-strip construction worked.
Tarik Saleh’s film gives a casually electric sense of how hardscrabble lives persist in times of war.
Joachim Lafosse’s film is at its strongest when it lets its actors’ faces and bodies do the talking.
In Milla director Valérie Massadian’s hands, the minor and the major are one and the same.
The premise of director Michael Winterbottom’s series has devolved from moderately diverting to actively stifling.
Bonello discusses the intersection of pop culture and terrorism, Dawn of the Dead, and more.
It remains too uncompromisingly black and white as a character study and a story of the conflicts of faith.
Given all its clumsily executed genre detours and tonal fluctuations, Rebecca Zlutowski’s film suggests an amateur juggling act.
The film suggests a contemporary vision, equal in weight and scale to George Romero’s Dawn of the Dead.