Reviews “Oxygen” breathes new life into a confined subgenre By: Sarah Gorr Alexandre Aja's latest thriller blends a stellar solo performance with palpable tension to set itself from the pack.
Reviews “Pride” is an earnest if uneven look at queer history By: Marshall Estes The variety of creative voices in FX's new docuseries lifts up what can be an inconsistent jaunt through 70 years of LGBTQ history.
Reviews “The Crime of the Century” indicts corporate America’s major health epidemic By: Theo Estes Alex Gibney's two-part documentary, The Crime of the Century, lays out a compelling case that the opioid epidemic was no accident.
Reviews Zack Snyder’s “Army of the Dead” is a zombie actioner par excellence By: Justin Harrison The Las Vegas set action/heist/horror hybrid balances solid character work, delightful gore and welcome brains.
Features P.S.H. I Love You: Get away from “The Getaway” Even early in his career, Philip Seymour Hoffman is too good for this dull shoot-em-up.
Reviews “The Djinn” offers real chills on a low budget By: Sean Price IFC Midnight presents a creepily effective take on a tale as old as time.
Festivals “The Rossellinis” grapples with what’s in a name By: Sydney Urbanek Roberto Rossellini's grandson directs a documentary that is a fascinating exercise in filmmaking as therapy.
Anniversaries At 20, “Carmen: A Hip Hopera” is a film like no other By: B.L. Panther Robert Townsend's modernized MTV adaptation of the famous opera is a compelling movie and a fascinating picture of pop culture in 2001.
Festivals “FANNY: The Right to Rock” corrects the record, just as Bowie wanted By: Sydney Urbanek Bobbi Jo Hart's energetic documentary shines a light on one of the greatest, most forgotten all-female rock bands in music history.
Reviews The only superpower in “Jupiter’s Legacy” is the size of its budget By: Jon Negroni Netflix's adaptation of the Mark Millar comic is an unapproachable blip in the ever-widening field of deconstructionist superhero shows.
Reviews In “Wrath of Man”, revenge is a dish best served lukewarm By: Clint Worthington Guy Ritchie and Jason Statham reteam for a muscular, but clunky revenge thriller too committed to its convoluted structure.
Reviews “Fried Barry” tries very hard to offend sensibilities By: Gena Radcliffe Though it has a seed of an interesting story, Ryan Kruger’s sci-fi comedy something or other would rather just overwhelm the viewer’s senses.
Reviews “Girls5eva” sings a sweet but smart tune By: Ashley Lara Tina Fey executive produces a fun and witty comedy about a 90s girl group reuniting for another taste of stardom.
Reviews “Mythic Quest” works out most of its bugs in season 2 By: Sean Price The Apple TV+ workplace sitcom may not be a gag a minute, but it's got a better handle on its diverse cast of characters.
Reviews “Shrill” closes out with a bittersweet, satisfying season 3 By: Beau North The Aidy Bryant-starring dramedy gets a fitting sendoff, exploring the messiness of your thirties with bittersweet aplomb.
P.S.H. I Love You “The Hunger Games: Mockingjay” is a strange final film for Philip Seymour Hoffman Philip Seymour Hoffman's final role, as a CG-assisted reprise in the final Hunger Games films, is more a commemoration than a performance.
Columns Criterion Corner: “Memories of Murder”, “Irma Vep” April's Criterion releases include an early classic by Bong Joon-ho and a dizzying, meta-critique of French cinema from Olivier Assayas.
Reviews “The Bad Batch” fills all your Star Wars lore needs By: Megan Sunday A few drawbacks aside, Dave Filoni co-writes another satisfying action & story-packed side story in the Star Wars universe.
Reviews “The Mosquito Coast” is all vibes, no substance By: Reyzando Nawara Apple TV+'s adaptation of the Paul Theroux book places too much emphasis on atmosphere and not enough on character.
Filmmaker of the Month “Twixt” runs red with the blood of Coppola’s messy ambitions Francis Ford Coppola's final film to date may not be his best (or even good), but it encapsulates his yearning for creative freedom.
Features The underrated “Tetro” reflects Coppola’s empathetic side Though pretentious at times, the 2009 drama comes from a fresh new perspective of the filmmaker.