As his WWI war epic 1917 comes out in time for the holidays, we spend December looking back on the eclectic modes of Sam Mendes.
Sam Mendes powers his leading ladies to metatextual heights in his first Bond outing.
Sam Mendes’ critically acclaimed war drama unexpectedly usurps “Rise of Skywalker”‘s throne.
Sam Mendes’ WWI epic is an astounding technical achievement, but loses its soul on the way to razzle-dazzle.
Despite getting off on the wrong foot, Sam Mendes’s oft-forgotten dramedy remains a salient look at 2000s anxieties as often seen onscreen.
Sam Mendes’s tale of forlorn love works best as a study of the pitfalls that litter the American Dream.
Sam Mendes’ Depresson-era gangster fable is as effective as it is in-your-face with its aesthetics.
Sam Mendes’ Best Picture winner is a flawed but evocative time capsule of ’90s middle-age anxiety.
A $29 million take spells success for the low-budget Universal horror film, proof that the Blumhouse model works.
Who should win, who will win, and who was left out.
While Skyfall was a rousing success, Mendes’ return to the Bond franchise, bogs itself down in tiresome lore and continuity.
The closing chapter of the Star Wars sequel trilogy maintains a steady second-weekend box office haul.
Iorek reclaims his throne & Lyra gets both a new name & a family reunion in an uneven penultimate episode.
With Pixar having one of their lowest openings yet, the box office experienced one of the worst weekends for this time of year in over a decade.
The kid-friendly video game movie keeps pace with a $26 million second weekend, staying ahead of Harrison Ford and his dog.
Everyone’s favorite talking hedgehog burns up a $57 million opening weekend at the box office, while Birds of Prey experiences the typical second-weekend slump.
Bad Boys for Life finds itself atop the charts yet again while Oz Perkins’ horror fairytale fails to crack the top three over the Super Bowl weekend.
Will Smith & Martin Lawrence beat Guy Ritchie’s latest handily in a robust-for-January weekend.