From The Assistant to Wolfwalkers, we guide you through the cinema that survived a devastating 2020 and made it to our screens — and hearts.
William Greaves’ avant-garde meta-doc, David Cronenberg’s work of grand theft autoerotica, and Innaritu’s dizzying debut mark this month’s Criterion entries.
Netflix blends Pretty Little Liars and Black Swan into a scintillating if overstuffed series about the pressures of performance.
Philip Seymour Hoffman’s riotous Sandy Lyle elevates the schlocky aughts rom-com to a deeply silly delight.
CBS All Access’ all-star miniseries adaptation of the timely Stephen King novel bogs itself down in a helter-skelter structure and an acute lack of stakes.
David Fincher’s 1995 serial killer thriller elevates the police procedural into a grimy fable about mankind’s fall from grace.
The university takes center stage in Disney+’s latest sports biopic, lacquering on sentimentality as much as it does team spirit.
Bill Burr bursts back onto the series with some cutting wisdom on the moral gray areas of the Star Wars universe.
Viktor Kossakovsky’s deeply anthropological look at the everyday rhythms of farm life bursts with precision and quietly devastating purpose.
By stubbornly refusing to embrace subtlety or reject clichés, The Wilds ends up unapologetically great.
Ryan White’s documentary examines the two women who killed Kim Jong-un’s brother, and the complex web of lies and deceptions that got them to do it.
Ryan Murphy’s bajillionth project for Netflix adapts the Broadway musical to spectacular effect, even if the spectacle wallpapers over its lack of substance.
Steve McQueen’s anthology about Black life in London has its low point in a truncated biopic about the acclaimed British author.
The composer duo talks about their years-long collaboration and the sparse, airy score to Francis Lee’s queer romance.
Amazon Prime Video’s sci-fi series returns for another season of intergalactic intrigue, with a greater emphasis on its characters.
A grieving couple set about a dark and gruesome plan to revive the spirit of their young grandson in this creepily effective horror-comedy.
Steven Soderbergh goes further back to his indie roots with a boatful of talent, loose style, and delightful improv.
Emperor Georgiou goes on a dark night of the soul in the Mirror Universe.