Jason Segel, Dakota Johnson, and Casey Affleck forge a treacly, generous bond in a drama that almost drowns in its own schmaltz.
Vincent Paronnaud’s over the top slasher film wants to say something about misogyny while treating its female lead as an object to be abused.
From The Assistant to Wolfwalkers, we guide you through the cinema that survived a devastating 2020 and made it to our screens — and hearts.
Viktor Kossakovsky’s deeply anthropological look at the everyday rhythms of farm life bursts with precision and quietly devastating purpose.
The documentary about the destructive beauty of meteors is equal parts perplexing and engaging.
Writer-director Justin Dix pits WWII shipwreck survivors against monsters in a sometimes too restrained but fun horror adventure.
Timo Tjahjanto brings his maximalist sensibilities to a followup that tries to be several different horror movies at once.
Disney+ tries to blend its love of princes and princesses with its new focus on superheroes, with mixed results.
Alien parasites wreak havoc on Mother Russia in this pulpy, viscerally effective creepfest.
Václav Marhoul’s three-hour WW2 fable is a brutal film tied up a bit too rigidly in its meticulous depictions of violence.
Rod Lurie’s military thriller about the Battle of Kamdesh can’t quite nail its critique about the horrors of war.
Olivier Assayas’ latest is a clunky thriller that resists cinematic convention to its detriment.
Andrew Patterson’s tale of strange goings-on in ’50s New Mexico is full of detail, even if it doesn’t reach its full potenial.
Andrew Ahn’s sophomore film is one of the year’s most understated masterworks, with a beautiful sendoff for Brian Dennehy.
Newly restored in 4K by Indiecollect and released by Kino Lorber, Nancy Kelly’s 1991 western softly explores racial and gender-based oppression in late-1800s America.
Netflix’s latest buddy cop comedy is a dated, hateful mess that doesn’t deserve the screentime.
The much-memed movie star finds his footing again in a familiar but satisfying redemption story.
Though cinematographer Reed Morano shows some directing chops, the Blake Lively thriller is uneven in style & tone.