Reviews “Bully. Coward. Victim. The Story of Roy Cohn” hides behind fake objectivity By: Jonah Koslofsky The second doc about the disgraced lawyer in months makes the cardinal sin of avoiding its own viewpoints.
“Can’t Stop the Music” was a case study in the wrong way to do camp Producer Allan Carr’s legendary disco disaster turns 40 this year, and fails to maintain even “so bad it’s good” status.
“I have seen the light!”: some personal thoughts on “The Blues Brothers” The action-comedy-musical classic turns 40 this year, and remains both a staple of 80s nostalgia & a love letter to Chicago
Interviews Josephine Decker on the dreamy subjectivity of “Shirley” The director of Shirley talks about Elisabeth Moss, structuring scenes, and taking creative license with a real-life figure.
Reviews “Sherman’s Showcase Spectacular” celebrates a belated Black History Month By: Tim Stevens IFC's irreverently absurd Soul Train pastiche returns for a one-off special as inventive as it is occasionally overlong.
Reviews With “Wasp Network,” Olivier Assayas loses his sting By: Michael Snydel Olivier Assayas' latest is a clunky thriller that resists cinematic convention to its detriment.
Reviews TV spinoff “Love, Victor” complicates its squeaky-clean queerness By: B.L. Panther Hulu's spinoff of Love, Simon has a shaky start, but ultimately offers value to queer youth searching for guidance.
Reviews “The Short History of the Long Road” is a quick journey worth taking By: Dorothy Green Ani Simon-Kennedy's sophomore feature is a quiet, evocative trip, even if it doesn't go as far as it could have.
Reviews “365 Days” is much more risible than risque By: Marshall Estes 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.
Reviews “Miss Juneteenth” is a charming ode to Black womanhood By: Oluwatayo Adewole Channing Godfrey Peoples makes her debut with an emotional, inspiring tale of the complicated roads Black women must walk in America.
Features “Elephant” forced us to see the normal inside the horrific 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.
Reviews Kevin Bacon stays at a ScareBnB in the not-bad “You Should Have Left” By: Gena Radcliffe David Koepp’s haunted house thriller about anger and marital jealousy is ultimately more tragic than spooky.
Reviews Joseph Gordon-Levitt flies the unfriendly skies in “7500” By: Clint Worthington Patrick Vollrath's feature debut shifts from Hitchcockian claustrophobia to tone-deaf xenophobia.
Reviews Shudder gives “Scare Package” enough tropes to hang itself with By: Clint Worthington Shudder's new anthology film pokes fun at horror cliches, but can't quite overcome a dreary final segment.
Reviews “Disclosure” lets trans people speak up for themselves By: Dorothy Green Sam Feder's documentary provides an empathetic if slightly uneven look at the trans community, voicing its beauty and understanding its anger.
Filmmaker of the Month “My Own Private Idaho” searches for queer freedom Gus Van Sant's 1991 queer classic is a mournful tone poem about lost youth, and the intersection between class and queerness.
Reviews “Dads” isn’t the world’s greatest, but it’s a pleasant viewing By: Lisa Laman Bryce Dallas Howard’s directorial debut is a fluffy, familial piece that works best when it’s at its most grounded.
Joygasm! “Batman Forever” celebrates its 25th birthday 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.
Reviews “Babyteeth”‘s maudlin dying teen love story has no bite By: Sarah Gorr The only sighs Shannon Murphy's tragic romantic drama elicits are of boredom.
Reviews Sorry folks, it won’t happen again: “Gremlins 2: The New Batch” at 30 By: Peter Sobczynski Three decades later, Joe Dante's gleefully anarchic monster-movie sequel remains an underappreciated cult classic.
Features The “Psycho” remake is an ironically bloodless exercise in technique Gus Van Sant's remake of the Alfred Hitchcock classic is a cut-and-paste exercise that plays like little more than a rehash of the original.