Godard said all you need for a movie is a girl and a gun, but did he ever really consider the cinematic possibilities of a sloth with a sword? The minds behind the horror-comedy Slotherhouse did, and we thank them for it.
As Golda Meir, Helen Mirren gives a showy but shallow impersonation, in a disappointing historical biopic more emotional than illuminating.
My choices for who will win, who should win, and who must not be allowed to win at the 96th Annual Academy Awards.
In which I look back on my preposterous (and predictably failed) attempt to write about every movie that opened this summer.
Denzel Washington eats, prays, loves, maims, mutilates, and murders in Anton Fuqua's The Equalizer 3 (2023), a dumb and dour action thriller that is both unpleasant to watch and bad for the world.
Amanda Lipitz's documentary is a rare and inspiring celebration of the love, beauty, and optimism of disadvantaged black communities.
Nikolaj Arcel's quick and pointless adaptation of Stephen King's sprawling epic is a tepid, paint-by-numbers picture.
Simplistic, reductive, and perversely exculpatory, Kathryn Bigelow's DETROIT is well-executed torture-porn that irresponsibly exploits the destruction of black bodies.
In "The Queen's Justice," ice and fire finally come together, and everyone needs to let go of the things they think they know.
Holly Hunter is always good, but Katherine Dieckmann's road-trip movie drives her down some frustratingly contrived roads.
I do not seem to have the appropriate catalog of symbols on my app to adequately express my feelings about The Emoji Movie.
Charlize Theron can do no wrong, but Atomic Blonde needed to either be a whole lot smarter, or a whole lot stupider, to be any fun at all.
In my attempt to see and review every new movie this summer, I've fallen a little behind. Here are shamefully quick takes on films that didn't get full reviews, including The Bad Batch, The Little Hours, A Ghost Story, and Lady Macbeth.
With new allegiances being forged, "Stormborn" tests the strengths—and limitations—of different kinds of loyalty.
Funny, fearless, and full of genuine feeling, Girls Trip is the best American comedy of the summer.
Simultaneously awful and glorious—but always beautiful—Luc Besson's buddy-cop space opera is a goofy, gonzo, candy-colored cornucopia of silliness.
Elsa Dorfman is likable and interesting, but Errol Morris's documentary both overstays its welcome and under-explores its subject.
Christopher Nolan's Dunkirk masterfully captures a key moment of human triumph, but it is not a film that's remotely interested in human beings.
In "Dragonstone," the Season Seven premiere of Game of Thrones, survival may depend on reconciling the sins of the past with the needs of the future.
Oliver Hirschbiegel's latest film is an imperfect but intriguing exploration of a forgotten resistance hero.
The motion-capture in the latest Apes film is a stunning work of art. Now if only the screenplay could match it…
Nick Hamm's painfully contrived, preposterous film reduces the complexities of the Irish Troubles down to an unconvincing marital spat.
Like its subject—embodied in a fantastic performance by Sally Hawkins—Aisling Walsh's film finds joy and color in unexpected places.
The tenth-season finale fails Pearl Mackie's Bill, but "The Doctor Falls" is a strong episode that sets Steven Moffat up to say his final word on Doctor Who.
The latest entry in the animated franchise is crowded, uneven, and deeply silly. But it has enough cleverness, humor, and heart to make it worthwhile.
Great comedies pose important questions. So, coincidentally, does this one.
The iconic hero's introduction to the Marvel Cinematic Universe is light to the point of flimsiness, sacrificing both narrative power and emotional depth.
João Pedro Rodrigues' beautiful but increasingly frustrating film is a slow descent into surreality and obscure religious metaphor.
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