Ang Lee’s ambitious young-vs-old futuristic thriller is a misfire of cranked-up frame rates and muddled plotting.
Clint sits down with local Chicago filmmaker Michael Smith to talk about his latest indie comedy, and with regular Linklater composer Graham Reynolds about his work on Sundance darling Sister Aimee.
Will Smith & Martin Lawrence beat Guy Ritchie’s latest handily in a robust-for-January weekend.
The critically blasted “Dolittle” follows “Cats” as another flop for Universal while audiences turn out for Will Smith & Martin Lawrence.
Will Smith & Tom Holland lend their voices to an animated adventure that makes up in charm what it lacks in originality.
Bryce Dallas Howard’s directorial debut is a fluffy, familial piece that works best when it’s at its most grounded.
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.
The DCEU embraces its inner Bugs Bunny, and is all the better for it.
The third entry in the irreverent buddy-cop series looks at old versus new without coming to any real conclusion or purpose.
Joker tops the box office again while The Addams Family excels & Gemini Man struggles.
Adapting the Topps trading cards to cackling comic life, Tim Burton! offered a twisted alien invasion alternative to Independence Day.
Burton’s dark, misguided adaptation of Roald Dahl’s classic children’s novel ages particularly poorly among the rest of his works.
Boots Riley’s wild feature film debut throws racial politics, consumerism, and magical realism in a blender, making for […]
Gillian Flynn’s new Prime series is an ambitious saga that offers loads to chew on, assuming you can handle the bleakness of it all.
Ruby gets a taste of how the other side lives in an aimless, disappointing episode.
On the eve of Denis Villeneuve’s retelling of the Frank Herbert sci-fi epic, we look back at David Lynch’s messy ’80s adaptation.
Atticus & the others return to Massachusetts in a shaky episode that swaps out horror for high adventure.
Showtime’s docuseries about a love ’em & leave ’em con artist looks good but suffers from a lack of focus.