A comprehensive guide to the streaming films you should watch as you quarantine from the coronavirus.
Author: Matt Cipolla
Kelly Reichardt’s latest is a kindhearted storybook of a film that gracefully balances the sights, sounds, and textures of pre-Gold Rush Oregon.
After 28 years, two sequels, and now with a reboot coming this June, Bernard Rose’s look at racial and economic disparity lingers the most in how it skewers the myth of the white savior.
Autumn de Wilde’s straightforward adaptation of Jane Austen’s novel has its charming moments, but that doesn’t make up for its missed opportunities.
The iconic video game franchise gets a prickly, unoriginal adaptation that piles on the contrivances and dated references.
Kitty Green’s latest incisively explores the systems that protect predators, resulting in something more than a simple Weinstein allegory.
Jeff Wadlow’s adaptation of the late-’70s TV show is a thrill-free getaway that only entertains when it goes from generic to incoherent.
Nat Faxon & Jim Rash’s remake of Ruben Östlund’s 2014 dramedy is a dragged-out rehash that oversimplifies its point—and then loses it.
Jeff Orlowski’s documentary about the effects and ethics of social media lacks enough emotional depth or practical solutions to work.
Anabel Rodríguez Ríos’s documentary about tension in the small village of Congo Mirador is both singular and specific.
Edson Oda’s debut feature about a group of souls looking to be born into the real world is a great premise with pretty good execution.
Lance Oppenheim’s documentary about the largest retirement village in America blends droll humor with small, salient touches.
Emerald Fennell’s feature debut may be flawed, but it’s an empathetic portrayal of rage, anguish, and black comedy.
Cedric Cheung-Lau’s super slow burn overdoes itself at points, but it finds its beauty—and then finds it again.
Brandon Cronenberg’s second feature is a po-faced collection of genre tropes that wastes its cast and a modest sense of style.
Eugene Kotlyarenko’s satire about a rideshare driver who murders for online fame lacks the bite or nuance its premise deserves.
Eliza Hittman’s tender tale of a teenage girl seeking an abortion is about far more than its description would suggest.
Janicza Bravo’s retelling of the 2015 viral Twitter thread boasts great performances and surprisingly solid filmmaking, even if it ends on a shrug.