This month, we celebrate The Irishman by looking back on the works of one of New Hollywood’s most enduring voices.
Todd Phillips’ seedy, 3edgy5me imagining of the Clown Prince of Crime is as artfully made as it is disturbingly retrograde.
Nadav Lapid’s latest film loads its narrative with impactful stories about masculinity, language, and nationality.
Pedro Almodóvar graces us with a shaggy but rewarding portrait of a middle-aged director wrestling with his demons, with an arresting turn by Banderas.
Childe Roland to The Dark Tower came, and unfortunately, he brought all of us along with him.
Frank Darabont’s adaptation of the Stephen King story is one of the bleakest, most nihilistic takes on his material.
2007’s Stephen King thriller is a wonderfully economic take on the horror writer’s sensibilities, a real-time flytrap you can’t help getting stuck in.
Daniel Scheinert scales back from his usual absurdist work for an ambitious medley of tones that doesn’t quite land.
Martin Scorsese returns with another long, sumptuous opus, whose crackling performances and scintillating script are held up by some wonky de-aging tech and a leaden runtime.
Flavio Alves’ story of a trans immigrant in New York City may be rough around the edges, but it serves as important advocacy.
Like its subject, Judy has its good nights and bad nights, but it’s always saved by a powerhouse Zellweger performance.
Tone-deaf obviousness and blunt-force capitalist critiques plague Morris’ latest, letting down its good intentions with disappointing bluntness.
The controversial sex-crime thriller starring Al Pacino gets a Blu Ray release, but its flaws in storytelling and representation remain.
The Vincenzo Natali adaptation of Stephen King’s short story is a repetitive struggle.
For better or for worse, Lawrence Kasdan’s adaptation of Dreamcatcher captures the strange, ambitious essence of a Stephen King novel.
Waistcoats and pageantry rule the day at the box office, while Brad Pitt’s cerebral sci-fi drama Ad Astra puts on a respectable showing.
Patrick Brice and Sam Bain cross tonal wires to ill effect in this bland, unoriginal comic thriller.
Mary Lambert’s 1989 adaptation of the Stephen King novel Pet Sematary doesn’t dig as deeply into parental anxiety and tension as it would like.