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…
No Time to Die is a gorgeous entry in the Bond canon, but abysmally paced and expository to a fault. After 15 years, Daniel Craig’s run…
Venom: Let There Be Carnage successfully course-corrects from the original, delivering a deeply funny and deeply human film that ranks among the best recent comic…
Dear Evan Hansen is a manipulative, unintentionally awkward musical plagued by a black hole of a lead character. Dear Evan Hansen makes a pretty strong…
Cry Macho is yet another late-career effort from Eastwood deconstructing his own legacy, neither his greatest such effort nor a throwaway piece. Just why does Clint…
Bernard Rose’s 1992 film Candyman, freely adapted from a Clive Barker short story, is the tale of a white academic who inadvertently summons a murderous…
Shang-Chi is perfunctory origin story work boasting little characterization and an overestimation of its representational currency. The Marvel Cinematic Universe marches on undaunted with Shang-Chi and…
Reminiscence is silly, arch, and derivative, an objective failure that nonetheless manages to entertain even as it induces eye rolls. It’s kind of fashionable these days…
Free Guy is the rare tentpole based on an original idea rather than existing IP, and supplements that present-day novelty with a game cast and genuine…
On the strength of Gunn’s outré humor and filmmaking sensibilities, The Suicide Squad is nothing less than the most enjoyable comic book flick in a quick…
In recalibrating its source material, The Green Knight often proves compelling, but it doesn’t always convince as a fully liberated work. “I see legends,” Gawain (Dev…