A Field in England goes afield, in England
Wheatley keeps it eclectic with the most psychedelic offering in his filmography.
Wheatley keeps it eclectic with the most psychedelic offering in his filmography.
Quinn Armstrong’s debut is a clever riff on ’80s police training videos that sneaks in some earnest reflection on domestic violence.
Brandon Cronenberg’s second feature is a po-faced collection of genre tropes that wastes its cast and a modest sense of style.
Barbie, Freaks, ALF, and much more!
The Criterion Channel dives into the unique hell of being a teenager & we’ll tell you which films not to miss.
Are You There God? It’s Me Margaret, Shin Ultraman, The Watermelon Woman, and More
Reject modernity, embrace physical media.
Brian De Palma’s follow-up to Carrie remains a messy but fascinating entry in his diverse filmography.
Bill Lawrence’s new AppleTV+ show isn’t perfect, but none of us are.
Kasi Lemmons’ estate-approved biopic offers a chance to mourn the legend, even if the film stumbles when she’s not on stage.
The Sea Beast, which channels Treasure Planet more than The Secret Life of Pets, is swashbuckling fun for kids and adults.
Elaine May’s one-and-done comic flop is far funnier and more incisive than its reputation implies.
Amazon’s new I Know What You Did Last Summer adaptation blazes its own trail but risks losing viewers in the bargain.
Kermit and company’s second big-screen outing is a hodgepodge comedy partially redeemed by the great Charles Grodin.
Lisa Immordino Vreeland’s documentary shifts the writers’ prose and personas to the screen.
Andra Day shines in Lee Daniels’ otherwise-messy biopic about the Black cultural icon, squandering some fine potential.
Maisie Williams is the primary reason to watch HBO Max’s black comedy series about a sheltered teen on a mission to avenge her father’s death.
Jay Baruchel’s adaptation of the 2010 comic is an ugly attempt at social commentary that lacks irony or emotion.
Jim Jarmusch’s most gentle, sentimental film finds the lyrical beauty in an everyday working class life.
The seventh annual Chicago Critics Film Festival includes a 35mm print of Alien, as well as festival faves like The Nightinggale and Yesterday.
Diving deep into Minions territory, Illumination’s revamp of the holiday classic sands off the Grinch’s hard edges and turns him into a blandly grumpy uncle. This piece was originally posted on Alcohollywood The billboards for Dr Seuss’ The Grinch feature the eponymous antihero dishing out insults to the viewer. From the ads, you would think that … Dr Seuss’ The Grinch Review: Illumination’s Slick Remake is Two Sizes Too Bland