DEVIL IN A BLUE DRESS (1995)

This week we're revisiting Carl Franklin's sorely under-appreciated neo-noir, which celebrates its 25th anniversary this month.

SPIRITED AWAY (2001)

SPIRITED AWAY (2001)

This week we're getting Ghibli with it, as we sit down for The Unenthusiastic Critic's first viewing of Hayao Miyazaki's weird and wonderful animated classic.

OTHER RECENT POSTS

FILM REVIEWS

THE JOURNEY (2016)

Nick Hamm's painfully contrived, preposterous film reduces the complexities of the Irish Troubles down to an unconvincing marital spat.

Sally Hawkins in MAUDIE
FILM REVIEWS

MAUDIE (2016)

Like its subject—embodied in a fantastic performance by Sally Hawkins—Aisling Walsh's film finds joy and color in unexpected places.

DW10X12
DOCTOR WHO

DOCTOR WHO 10×12: "THE DOCTOR FALLS"

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.

FILM REVIEWS

DESPICABLE ME 3 (2017)

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.

Jason Mantzoukas, Will Ferrell, and Amy Poehler in THE HOUSE
FILM REVIEWS

THE HOUSE (2017)

Great comedies pose important questions. So, coincidentally, does this one.

Tom Holland in SPIDER-MAN: HOMECOMING
FILM REVIEWS

SPIDER-MAN: HOMECOMING (2017)

The iconic hero's introduction to the Marvel Cinematic Universe is light to the point of flimsiness, sacrificing both narrative power and emotional depth.

The Ornithologist (2017)
FILM REVIEWS

THE ORNITHOLOGIST (2017)

João Pedro Rodrigues' beautiful but increasingly frustrating film is a slow descent into surreality and obscure religious metaphor.

Jai Courtney and Lily James in THE EXCEPTION
FILM REVIEWS

THE EXCEPTION (2017)

An unconvincing love story married to a silly spy thriller, David Leveaux's The Exception is a forgettable costume drama.

FILM REVIEWS

THE BEGUILED (2017)

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.

FILM REVIEWS

THE BIG SICK (2017)

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.

Ansel Elgort and Lily James in BABY DRIVER
FILM REVIEWS

BABY DRIVER (2017)

Edgar Wright has channeled his pop-music, pop-culture obsessions into the perfect summer movie.

BAND AID (2017), starring Zoe Lister-Jones and Adam Pally
FILM REVIEWS

BAND AID (2017)

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.

Salma Hayek in BEATRIZ AT DINNER
FILM REVIEWS

BEATRIZ AT DINNER (2017)

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.

Sam Elliott in THE HERO
FILM REVIEWS

THE HERO (2017)

It's only taken Sam Elliott 50 years to become an exciting new movie star.

FILM REVIEWS

ALL EYEZ ON ME (2017)

Reducing Tupac Shakur's legend to a series of sensationalistic incidents, All Eyez on Me is a denigrating takedown clothed as a tribute.

FILM REVIEWS

THE BOOK OF HENRY (2017)

Colin Trevorrow's new movie is horrible in unique, unfathomable, nearly unprecedented ways.

FILM REVIEWS

ROUGH NIGHT (2017)

Tired, tedious, and tame, Lucia Aniello's Rough Night (2017) lacks the courage of its pretended coarseness.

FILM REVIEWS

47 METERS DOWN (2017)

Johannes Roberts' murky, oxygen-deprived shark movie is dead in the water.

FILM REVIEWS

CARS 3 (2017)

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.

FILM REVIEWS

I, DANIEL BLAKE (2016)

Heart-warming and soul-crushing in almost equal measures, Ken Loach's new film is a furious, funny, unfailingly humane masterpiece.

FILM REVIEWS

MIDDLE MAN (2017)

Existing at a curious nexus of buddy-comedy and crime-thriller, writer-director Ned Crowley's dark debut feature is uneven but promising.