Brandon Trost’s directorial debut finds two Seth Rogens balancing old, new, and distant family, to largely mixed results.
James D’Arcy’s directorial debut is a thin, derivative bore that wastes its otherwise-game cast.
Bennett Miller’s adaptation of Michael Lewis’ book is an overlong, overcrowded sports biopic partially redeemed by its cast.
Gemma Arterton is bristly and charming in this WWII-era melodrama, but it’s almost a little too weightless for its own good.
Olympia Dukakis is given a warts-and-all portrait that highlights her tremendous power and the foibles of “no bullshit” Method acting.
Rhonda Byrne’s bestselling “law of attraction” nonsense gets a cloying, predictable romantic spin with better performances than it deserves.
Joel Schumacher’s final film is a hodgepodge of hokey thriller twists and a ridiculous performance from Nic Cage.
Rob Savage wrangles a tight, heart-stopping screen-based horror flick out of six actors, practical scares, and a Zoom call.
Say what you will about Kevin Costner’s disasterpiece, but it’s a reminder of the time when studios were willing to wade into uncharted seas.
A look back at a time when “the internet” was portrayed as a mysterious boogeyman that could destroy your life.
A token of the aughts and a swan song for Mike Nichols, this 2007 drama runs on more hermetically sealed Aaron Sorkin writing to okay results.
Despite its future A-list cast & spooky atmosphere, “Blood Creek” is an incoherent misstep for the versatile director.
Inexcusably long but otherwise harmless, the sequel to Netflix’s hit teen romcom offers more comforting fluff.
Joel Schumacher inexplicably drained Andrew Lloyd Webber’s legendary Broadway musical of every bit of its camp and queerness.
Marjane Satrapi’s biopic of Marie Curie can’t cure what ails you, even with a strong Rosamund Pike turn at the center.
Romola Garai’s directorial debut, Amulet, aims to mix body horror and feminist storytelling but instead feels like a short film stretched to feature length.
With loss of control dressed up in nutty numerology, Joel Schumacher’s 2007 thriller is a flawed thematic tie-in to his other work.
Indonesian horror maestro Joko Anwar returns for another piece of chilling, atmospheric folklore.