The End of Us is a marginally interesting pandemic document but an utter disaster of a rom-com styled portrait of a failed relationship. Those nostalgic for…
Cyrano is a mess, a shambles, a misfire, and also one of the most enjoyable films of the year. The glut of awards bait that…
Swan Song is a sleek, appealingly low-key sci-fi effort that angles more for emotional wallop than futurist noodling. Within the history of cinema, the subject of…
Death Valley is an underwhelming but mostly inoffensive bit of lightweight genre work, delivering a few moments and overcoming obvious budget limitations. As has been periodically mentioned…
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.…
The Tender Bar is a bland, clueless film that finds Clooney the director at this most narcotized. While his career in front of the camera has…
Mother/Android isn’t anything more than another generic sci-fi copycat built from the spare parts of better flicks. Even 40-odd years on, Ridley Scott’s dual sci-fi touchstones…
The Hand of God is a softer but no more subdued effort from Sorrentino, still rife with flourish but with a more personal core than ever…
There’s plenty to admire in The Novice, but a surfeit of ambition and an overreliance on certain aggressive formal qualities bogs down its execution. Drawing…
The Scary of Sixty-First is an incredibly engaging piece of camp in the narrative form of classic paranoia-thrillers. Recently, while on my way to lunch with…
Anyone showing up to The Housewives of the North Pole for some bad behavior shenanigans is going to be sorely disappointed. The Housewives of the North Pole,…
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…
The Last Son is ill-conceived and one-dimensional, yet another bid at mining a the Western mythos that trades only in outmoded tropes and iconography. Playing like…
Last and First Men is a artful, melancholy work that suggests the heights Jóhannsson might have reached, even as the final product can feel more like…
Being the Ricardos would have benefitted from more fully committing to one of its many directions, but it remains a slick, emotionally dynamic film and further…
Dumont’s recent shift into outright absurdity and his exuberant mistrust of form is most thrillingly realized in France, and particularly in Seydoux’s remarkable performance. Bruno…
Don’t Look Up is Adam McKay’s latest po-faced, celebrity-stuffed foray into unfunny finger-wagging and condescension. There’s a curious combativeness to the recent works of Adam McKay,…
National Champions isn’t even good enough to make the playoffs. Adapted from the Adam Mervis play of the same name, Ric Roman Waugh’s National Champions follows…
Red Rocket is an intentionally bad vibes experience, and while the film’s messaging is resolutely simplistic, it’s all kept afloat by Simon Rex’s year’s-best performance. It’s…