HBO Max’s adaptation of the Philip Pullman novels seems disinterested in examining its characters upon its return.
Pegged upon release as a retread of previous work, William Friedkin’s neo-noir is something altogether different.
Hans Petter Moland’s adaptation of Per Petterson’s novel is a sensual look at growing up, but it’s more inert than introspective.
Joel Schumacher’s second John Grisham adaptation is a myopic look at race and the criminal justice system in the American South.
It’s good, but Anthony Minghella’s 1999 adaptation really comes alive when Philip Seymour Hoffman’s scumbag enters the picture.
Both tactile and ethereal, Gus Van Sant’s skateboarding drama saw him expand upon his neorealist work that spanned the 2000s.
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.
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.
The adaptation of the first in Eoin Colfer’s series is alarmingly messy for a project that’s been in the works for almost two decades.
Far from good but definitely not boring, Frank Marshall’s adaptation of Michael Crichton’s novel is a sick day viewing that deserves its due.
Derek Cianfrance’s new miniseries avoids pitfalls with well-rounded characters and two terrific performances from Mark Ruffalo.
Despite a solid supporting cast, Clark Duke’s debut is a small-scale caper with that doesn’t have the attention span to ever truly work.
Newly restored in 4K by Indiecollect and released by Kino Lorber, Nancy Kelly’s 1991 western softly explores racial and gender-based oppression in late-1800s America.
Justin Kurzel puts manhood, infamous 1800s criminals, and the first feature film ever made into a bushranging blender.
The second half of Andy Muschietti’s Stephen King adaptation sinks under its mishmash of tones.