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.
An unconvincing love story married to a silly spy thriller, David Leveaux's The Exception is a forgettable costume drama.
Sophia Coppola's beautiful but shallow remake leaches all life out of a tale that once teemed with repressed emotion and kinky Southern Gothic melodrama.
Based on the real experiences of Kumail Nanjiani and his wife, Michael Showalter's film is a smart, grounded comedy about funny people dealing with serious situations.
Edgar Wright has channeled his pop-music, pop-culture obsessions into the perfect summer movie.
In "World Enough and Time," all the themes that have obsessed Steven Moffat's era of Doctor Who come home to roost.
Zoe Lister-Jones' feature debut is a harmless enough ditty, but it's a little too shallow and slight to be a truly great love song.
A good director and an excellent cast can't quite rise above a script that lacks the sophistication, subtlety, and insight needed to do its premise justice.
Classic Doctor Who writer Rona Munro returns with "The Eaters of Light," to show the current generation how to do a simple story well.
I'm sorry. It's my fault. I just didn't understand how far the bar had been lowered.
It's only taken Sam Elliott 50 years to become an exciting new movie star.
Reducing Tupac Shakur's legend to a series of sensationalistic incidents, All Eyez on Me is a denigrating takedown clothed as a tribute.
Colin Trevorrow's new movie is horrible in unique, unfathomable, nearly unprecedented ways.
Tired, tedious, and tame, Lucia Aniello's Rough Night (2017) lacks the courage of its pretended coarseness.
Johannes Roberts' murky, oxygen-deprived shark movie is dead in the water.
Once, Pixar made a movie about talking cars, and it made a lot of money. So, they made another one. Now, they've made a third one.
Heart-warming and soul-crushing in almost equal measures, Ken Loach's new film is a furious, funny, unfailingly humane masterpiece.
Existing at a curious nexus of buddy-comedy and crime-thriller, writer-director Ned Crowley's dark debut feature is uneven but promising.
What could I possible say about Mark Gatiss's writing that I haven't said before? Not a thing, so I'm not even going to try…
Trey Edward Shults both explores and exploits our fears of the unknown, in a stark, harrowing, disturbingly intimate horror film.
Roger Michell's adaptation of du Maurier's novel is a stately exercise in indecision, and something of a cinematic Rorschach test.
Director Gabriela Cowperthwaite and star Kate Mara bring remarkable restraint, sensitivity, and authenticity to a feel-good story about a soldier and her dog.
I don't expect The Mummy to be the worst movie I see all year, but it's a banal mediocrity that bodes ill for Universal's interconnected "monster" franchise.
In "The Lie of the Land," the multi-part story of the Monks comes to an end, with patently ridiculous plotting and sadly diminishing returns.
Comedian Demitri Martin's feature debut is not a completely insufferable movie, but it is a completely insubstantial one.
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