Moonfall is big, dumb, exuberant fun and a welcome blockbuster-sized tonic from the endless IP regurgitation clogging theaters. Who’s ready for another disasterpiece from the…
Jackass Forever manages to once again up the ante, delivering not just the series’ best entry, but one of the most truly cinematic films in…
2022’s Scream is a sincere betrayal of the franchise’s legacy and devoid of Craven’s masterful craft and play. A rejoinder to a dead subgenre, Wes Craven’s 1996…
Misguided as female-driven blockbuster and unappealing as actioner, The 355 offers little to chew on. There is something rather refreshing in the fact that new action…
The King’s Man is a tale of two films, neither of which belong in the other’s world. Every year, there’s at least one. In the odd…
American Underdog is an inoffensive but utterly bland bit of hagiography, only slightly elevated by its surprising visual merit and an affable leading man. By all…
It’s impossible to replicate the essential newness of the original Matrix, but Resurrections is another deeply idiosyncratic huge swing that’s destined to be underappreciated for the near future.…
No Way Home offers some genuinely playful noodling with Spider-Man’s cinematic legacy, even as it often stumbles in execution and suggests a muddled future for the MCU.…
Nightmare Alley suffers from some tonal imbalance and isn’t always suited to its epic style, but the strength of craft and del Toro’s familiar heart-on-sleeve…
Spielberg’s authorship is distinctly felt in this version of West Side Story, and more than in the original, it here truly feels as if life…
Welcome to Raccoon City is a deeply faithful Resident Evil adaptation, and a deeply bad one at that. If there’s a guiding principle to Resident Evil: Welcome to…
Encanto can be a bit boring, a bit shallow, and a bit underwhelming in the musical department, but its gorgeous animation and rather quaint character make…
House of Gucci is relentlessly entertaining spectacle, utterly soapy and only occasionally undermined by some bland prestige film sheen. Ridley Scott goes two-for-two this year, first…
Afterlife is more rehash than reinvention of the Ghostbusters brand, cloying and desperate in its mode of pure nostalgia. Ghostbusters: Afterlife is an almost purely nostalgic experience, but it…
King Richard ticks all the inspiration sports story boxes, but transcends the template thanks to the vivid, granular attention paid to its lived-in details and bountiful…
Clifford the Big Red Dog is vapid, conceptually nihilistic, and utterly soulless “entertainment.” When moviegoers go to the movies, they typically do so with certain expectations:…
Eternals makes its aims clear, but the whole enterprise is frictionless, resulting in one of the most flavorless Marvel films to date. Meet the Eternals,…
Villeneuve’s Dune is a gorgeous, monumental, and thrilling take on Herbert’s material, only slightly hampered by a weak finale that anticipates an intended Part Two. It’s the…
The Last Duel is another win for Scott, an agreeably brutal, wickedly incisive tale that is considerably more substantive than mere Rashomon comps. Blending his lavish but…
The Many Saints of Newark is an affectionate but utterly empty and unnecessary return to the world of Tony Soprano. It always going to be a…