Sarah Adina Smith's ambitious second feature is a provocative, harrowing, and haunting film, if a slightly too-perfect vehicle for star Rami Malek.
Not since the Blitz has Winston Churchill been forced to suffer through this kind of bombing.
Every generation needs to learn potty humor, slapstick, and a total disregard for authority. Thankfully, Captain Underpants is here to lead the way.
Rest easy, well-wishers—and suck it, haters—Wonder Woman is a major triumph.
The Unaffiliated Critic—somewhat recklessly—announces his plan to see and review every single movie that opens between Memorial Day and Labor Day.
Ridley Scott gives up on the incomprehensible mythology of Prometheus, and sadly embraces the uninspired misery of another Alien retread.
Silly, soulless, and disappointingly executed, Life is an instantly forgettable B-movie dressed up—not very convincingly—to look like a serious production.
Thoughtful, powerful, and existentially bleak, Logan may be the film that finally expands our expectations of what a "superhero movie" can be.
Jordan Peele has made the first essential horror film of the Black Lives Matter era, and the smartest, most self-aware scary movie since The Cabin in the Woods.
Gore Verbinski's stylish horror film manages to entertain the eye and taunt the brain, but it never really engages the heart or soul.
James Baldwin's is the voice we need right now, and director Raoul Peck knows it, bringing a comparable clarity and poetry to one of the most powerful and provocative films of the year.
Theodore Melfi's Hidden Figures is not a groundbreaking film, but an old-fashioned, very entertaining film about some groundbreaking people.
When it's not trying to be more, Civil War is a fantastic superhero movie.
With the narrative simplicity of the darkest fairy tale, but dense with psychological and spiritual complexity, The Witch heralds the arrival of a major new talent.
My choices for who will win, who should win, and who must not be allowed to win at the 88th Annual Academy Awards.