The film exhibits the telltale signs of a series struggling to justify its existence.
Few R-rated horror films released in 2023 are as vicious as this one is.
Arrow’s 4K does right by this cyberthriller’s small but hardcore fanbase.
Air Review: Ben Affleck’s Poignant Portrait of Nike Aging into Its Michael Jordan Era
At its deepest level, Air is a film about mortality.
The film suggests that violence on behalf of an oppressed people isn’t only justifiable but even moral.
The Woman King doesn’t exactly offer anything subversive when it comes to its view of warfare.
One of Soderbergh’s best films, a classic of the American crime film genre, is afforded a beautifully visceral transfer.
The Unforgivable is devoid of all textures and emotions that don’t readily affirm the film’s rigid worldview of redemption.
Throughout, James Gunn renders the half-grim, half-absurdist nature of the Suicide Squad with delightfully bloody abandon.
Boseman meticulously charts the breakdown of a man discovering that pursuit and escape are inextricably intertwined.
Kino Lorber’s release marks the long-overdue arrival of Todd Haynes’s ravishing melodrama on Blu-ray.
None of director Steve McQueen’s prior features has explored its subtext with such depth.
The film concerns four women who take fate into their hands in the wake of their criminal husbands’ deaths, forging a future on their own terms.
Let’s honor Viola Davis’s impending win for what it is: a moment of truth, clarity, and justice.
Danzel Washington honors the manna of Fences’s being: the micro of romantic longing, self-loathing, and nostalgia.
David Ayer’s film longs to be bad, yet its forced by outside pressures to follow narrow, preset rules.
We have no doubt that we’ll be miffed by how some of these categories shake out on Sunday night.
The film ultimately succeeds as a convincing social plea, but fails as compelling cinema.
Michael Mann’s camera elegantly collapses the spaces between bodies and objects without sacrificing spatial coherence.
It bears Shonda Rhimes’s imprint by embracing the flawed and the frail, the becoming rather than the being, in the service of its lavish theatricality.