Lynn Chen’s debut is an achingly honest tale of lost time and potential.
India’s “first spaceship movie” is a languid, but occasionally thoughtful sci-fi dramedy about the bureaucracy of death.
Mary Mazzio’s inspirational sports doc is as empowering as it is occasionally muddled.
Black cinema (and American cinema as a whole) hasn’t been the same since the release of Spike Lee’s revolutionary New York drama.
One of Spike Lee’s most underrated films depicts a New York in which the more things change, the more racism stays the same.
Spike Lee’s biopic of the civil rights firebrand was a gripping, unforgettable cry of black rage and pain.
Madeline Wuntch haunts the Nine-Nine from beyond the grave.
Vin Diesel nicely keys into more stoic shootouts, but the movie around him can’t weld together its medley of genre inspirations.
Netflix’s latest overstuffed fantasy adaptation is a challenge for viewers’ time & patience.
The Erwin Brothers’ Christian romance aims for crossover appeal, but can’t quite rock its way into the free world.
Liz Garbus’ Sundance drama offers a gut-wrenching, if muddled, look at a true crime disappearance.
The overarching conspiracy cracks open on an episode that sets up the finale.
David Simon and Ed Burns’ adaptation of the Philip Roth novel paints a harrowing picture of an alternate America that feels all too prescient.
Netflix breathes new life into the tired stand-up comedian sitcom genre.
Brian De Palma’s bizarro, big-budget blastoff is rocky, but it remains an effectively fun entry in the director’s filmography.
Kelly Reichardt’s latest is a kindhearted storybook of a film that gracefully balances the sights, sounds, and textures of pre-Gold Rush Oregon.
Amazon’s adaptation of the Agatha Christie mystery The Pale Horse (one of the author’s final works) keeps her innate spirit for intrigue.
Peter Berg and Mark Wahlberg’s latest exercise in macho posturing is both aesthetically and thematically ugly.