Weird accordingly—or is it accordion-gly?—takes everything to new heights of glorious ridiculousness.
Although its crime-caper structure is worn extremely lightly, Kajillionaire represents Miranda July’s first real flirtation with genre.
Woke Disney, trying to navigate a tricky representational path, steps all over itself throughout.
The prospect of true danger imbues Westworld with a newfound sense of urgency in season two.
There’s no reprieve from the dour tone of Carlos and Jason Sanchez’s film.
Westworld isn’t some far-flung future entertainment, but a prescient commentary on our present.
Essentially a post-apocalyptic telenovela, it sanitizes the concept of sisterhood, and even womanhood.
As juvenile and frivolous a wish-fulfillment fantasy as one might expect from the visionary behind the Princess Leia hogtied to Jabba the Hut.
An egregious entry into the pantheon of films about white Americans traveling to exotic lands in search of identity and soul-searching adventure.
Kat Coiro’s film takes comedy of discomfort to new levels of cringe-worthiness.
Kat Coiro’s film is a frustrating case of a great opportunity blown.
Lots of folks go missing in the movies, and some of the most memorable are right here in this list.
This is a decent transfer of a lovingly detail-oriented period melodrama, from one of its finest contemporary practitioners.
This must be the year that Ryan Gosling teaches lessons in character to bright young men everywhere.
Robert Redford nimbly dramatizes a historical moment that’s politically relevant without being explicitly preachy.
Todd Haynes’s Mildred Pierce finally seems like the most elaborately produced critical close reading of a novel of all time.
Whatever Works is an infinitely savvier movie than it’s receiving credit for in the mainstream press.
As it unfolds, Woody Allen’s Whatever Works assumes an increasing note of poignancy.
Humans are the villains and floating tadpole aliens are the good guys in Battle for Terra, a bizarre, preachy pro-peace animated adventure.
Annihilation and resurrection are the twin axes upon which The Wrestler turns.