The second doc about the disgraced lawyer in months makes the cardinal sin of avoiding its own viewpoints.
The action-comedy-musical classic turns 40 this year, and remains both a staple of 80s nostalgia & a love letter to Chicago
Producer Allan Carr’s legendary disco disaster turns 40 this year, and fails to maintain even “so bad it’s good” status.
The director of Shirley talks about Elisabeth Moss, structuring scenes, and taking creative license with a real-life figure.
Olivier Assayas’ latest is a clunky thriller that resists cinematic convention to its detriment.
Ani Simon-Kennedy’s sophomore feature is a quiet, evocative trip, even if it doesn’t go as far as it could have.
Barbara Białowąs & Tomasz Mandes’ erotic drama has a truly gross premise and oodles of bad acting to leave you hot and bothered—or just bothered.
Channing Godfrey Peoples makes her debut with an emotional, inspiring tale of the complicated roads Black women must walk in America.
Bringing the works of Tarr and Akerman to modern America, Gus Van Sant’s drama about student life around a school shooting remains a vital work.
David Koepp’s haunted house thriller about anger and marital jealousy is ultimately more tragic than spooky.
Patrick Vollrath’s feature debut shifts from Hitchcockian claustrophobia to tone-deaf xenophobia.
Shudder’s new anthology film pokes fun at horror cliches, but can’t quite overcome a dreary final segment.
Sam Feder’s documentary provides an empathetic if slightly uneven look at the trans community, voicing its beauty and understanding its anger.
Gus Van Sant’s 1991 queer classic is a mournful tone poem about lost youth, and the intersection between class and queerness.
Bryce Dallas Howard’s directorial debut is a fluffy, familial piece that works best when it’s at its most grounded.
Love it or hate it, Joel Schumacher’s first take on the Caped Crusader was a neon-lit spectacle. Two of our writers debate its flaws & merits.
The only sighs Shannon Murphy’s tragic romantic drama elicits are of boredom.
Three decades later, Joe Dante’s gleefully anarchic monster-movie sequel remains an underappreciated cult classic.