With this category, we realize that precedent is increasingly illusory.
Arrow’s set is sure to be remembered as of the most impressive home video releases of 2023.
This set will be a must-buy for completists, but it may be too light on extras for everyone else.
The art is both the focus of Kelly Reichardt’s personal new film but also adjacent to the larger exigencies of life.
The Fabelmans is a provocative investigation of the cinematic medium from one of its great masters.
The title is an assurance that the most action-packed sequences will be defined by loudness, incoherence, and pointless cruelty.
The film diverts us away from its hint of a social message using a series of tired twists and turns that don’t signify much of anything.
Review: Fosse/Verdon Struggles to Capture the Sensual Fanaticism of Its Subjects’ Art
The miniseries at least gives ample space for Sam Rockwell and Michelle Williams to richly inhabit their characters.
By the end, Venom’s full-tilt embrace of action effectively undermines Tom Hardy’s flashes of actorly idiosyncrasy.
Abby Kohn and Marc Silverstein’s I Feel Pretty never really taps into the inherent absurdity of its premise.
The film is by and large a conspicuously manufactured thriller that moves between manipulative psych-outs.
The Greatest Showman’s spectacle is overshadowed by its archaic and misguided notions of American exceptionalism.
The film is a paean to the 20th century’s moving image as well the invisible, Oz-like figure of the collector-as-curator.
The Criterion Collection honors the ghostly delicacy of a new classic of American loneliness.
Let’s honor Viola Davis’s impending win for what it is: a moment of truth, clarity, and justice.
Kenneth Lonergan is keen to frustrate the therapeutic trajectory of Manchester by the Sea’s premise.
The threat of feeling slighted links every small and large ripple of drama in Reichardt’s film.
The festival’s triumph was Harmonia, a culture-hopping orchestra melodrama of paradoxically modest tone.
Sadly, Halloween: H20 has nothing to do with water.
The film is an amorphous melange of ill-fitting reference points and misappropriated aesthetics.