The show’s third, and possibly final, season is every bit as stomach-churning as the first two.
Borgli’s relationship comedy is mercilessly uncomfortable and impudently funny.
The first trailer for Nolan’s adaptation of Homer’s epic Greek poem is here.
Warner’s 4K magnificently showcases the film’s visual and aural splendor.
Challengers is an intoxicating showcase for the beauty and excitement of bodies in motion.
Villeneuve’s film is a milestone of precision craftsmanship on a gargantuan scale.
In its second season, Euphoria doubles down on its claim as the classiest and most artistic form of the lowbrow high school drama ever.
Denis Villeneuve’s gets a 4K release that, with its crystal-clear images and boisterous soundtrack, makes the most of the UHD format.
There’s no attempt to hide that the film is pure fan service, a greatest-hits mashup of Spider-Man’s cinematic legacy.
Dune ends up feeling like an extended prologue for what one can only hope will be a sequel that will clarify its parables and paradoxes.
The film is a thinly veiled excuse for Warner Bros. to parade, and possibly renew, all of its various copyrights.
Expending so much energy anticipating our avenues of interpretation, Malcolm & Marie leaves us with little to interpret.
Jon Watts deftly weaves the epic and the mundane aspects of Spider-Man’s existence throughout the film.
Euphoria’s central relationship is luminous, but the series struggles to develop its other characters.
Smallfoot is ballsy for pushing young viewers to question culturally coded notions of good and evil.
The Greatest Showman’s spectacle is overshadowed by its archaic and misguided notions of American exceptionalism.
By partially demonstrating what a fresher superhero movie might look like, it underlines its genre-defined limitations.