Frank Cottrell Boyce’s directorial debut is an unfocused mix of family estrangement and Andersonian kitsch.NOW STREAMING: Powered by […]
Natalie Erika James’ feature debut mixes loneliness, intimacy, and a strong Bella Heathcote performance to disconcerting effect.
Lawrence Kasdan’s 1985 throwback Western is overstuffed, but 35 years later boasts loads of charm.
Gina Prince-Bythewood’s nuanced, layered comic book actioner finds character among its expert choreography.
Andrew Lawrence’s action-comedy heist film is somehow both better, and far worse than you can imagine.
The Ross brothers’ staged documentary about a closing Las Vegas bar tries to blend mediums but borders on exploitation instead.
Joel Schumacher’s fun, stylish take on teen vampires both ushered in “MTV horror” & acknowledged young female horror fans.
Cristina Costantini & Kareem Tabsch’s new documentary looks at multihyphenate Walter Mercado’s impact to generally strong results.
Tom Hanks admirably buoys a lean, but sloppy WWII naval thriller too sincere to sell its simplicity.
The Brat Pack-era drama about callow college graduates is worth a watch, if you can tolerate its awful characters.
Andy Samberg and Cristin Milioti buoy Max Barbakow’s first scripted feature, mixing laughs and light philosophy in the process.
Schumacher’s directorial debut is a silly, messy take on the restrictive gender roles of women in the household.
Jeffrey A. Brown’s feature debut is an unsettling combination of eco-terror and body horror, with an ending that you will leave you shaken.
It’s good, but Anthony Minghella’s 1999 adaptation really comes alive when Philip Seymour Hoffman’s scumbag enters the picture.
Lin-Manuel Miranda’s world-changing musical comes to vivid life on Disney+, but can’t escape the complexities of its cultural dissonance.
Dawn Porter offers up a heartfelt, accessible tribute to one of Congress’ most stalwart Civil Rights leaders.
Rod Lurie’s military thriller about the Battle of Kamdesh can’t quite nail its critique about the horrors of war.
Shudder’s latest offering from South Korea is a limp, wooden retread of every exorcism and possession movie you’ve ever seen.