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.
From Ad Astra to Us, we celebrate the cream of the cinematic crop in 2019.
Clint Eastwood’s latest tests the limits of perception, even as it loses the script with its portrayal of the media.
Melina Matsoukas’ vivid debut makes a Bonnie & Clyde story out of the dangers of being black in America.
Elizabeth Banks revives the girl-power action franchise with new blood and a solid if formulaic actioner.
If you can’t use your eyes to see, you might as well roll them at Apple TV+’s hokey dystopian drama.
Takashi Miike’s gazillionth film is a riotous yakuza caper that traffics in the filmmaker’s impeccable balance of extremes.
Alejandro Landes’ tense, probing portrait of child soldiers keeps its messages as muddy as its setting.
Johannes Roberts’ sequel to 2017’s stripped-down aquatic thriller is packed to the gills with sharktastic mayhem.
It’s a little Sundance-y, but Tyler Wilson and Michael Schwarz craft a smart, balanced indie that avoids the usual pitfalls of the way movies tend to treat disability.
The latest adaptation of a Roberto Saviano novel is a familiar, but inventive crime drama.