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…
Mickey Reece makes idiosyncratic, uncategorizable films, chamber horror Agnes is his best film to date. Prolific Oklahoma underground filmmaker Mickey Reece is out there blowing up everyone’s…
The Flight Before Christmas is another inventive, droll effort from the Aardman team, imbuing their familiar stylings with a little misty-eyed holiday cheer. One might be…
The latest entry into the “quarantine art” canon, Project Space 13 is just another empty film with nothing substantive to say about our present moment.…
More poodle than Wolf, Biancheri’s film is a frustratingly tame and conservative treatment of potentially fascinating material. Ten years ago, a film like Wolf would have…
The Humans isn’t a subtle film, but mostly impresses thanks to surprising formal chops from playwright-turned-director Stephen Karam. In a millennium relatively lacking in original movie…
Castle Falls isn’t the DTV flick of the year that it’s inspired pairing teases, but its a solid little actioner that doesn’t overstay its welcome. DTV…
Single All the Way is as delightful and infectious as Hallmark-styled holiday films should be, and marks Netflix’s first such success in his arena. Netflix’s new…
As far as holiday traditions go, advent calendar are pretty lame; The Advent Calendar is lamer. Break out your horror premise Bingo cards, because if you marked…
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…
Flee is inoffensive and sweet enough, but also a totally blunt object that fails muster much actual power under the influence of its overt messaging. Danish…
Penny Lane’s Listening to Kenny G is a work of discursive extrapolation, a probing work that finds in the artist’s divisiveness some interesting threads worth pulling. Saxophonist…
Benedetta is as bawdy as any Verhoeven on paper, but the director’s uncharacteristically meek directorial approach renders the film far tamer than it should be.…