Vanessa Bayer’s rogue cop breaks bad in a middling misfire for the season.
A sensitive, nuanced Chicago dramedy that dives into the emotional complexities of abortion.
Demme’s 1986 screwball comedy is one of his most joyful and unexpectedly rebellious films.
Autumn de Wilde’s straightforward adaptation of Jane Austen’s novel has its charming moments, but that doesn’t make up for its missed opportunities.
Relationship growth, payback, office wagers, and even a Greatest Showman abound.
The iconic video game franchise gets a prickly, unoriginal adaptation that piles on the contrivances and dated references.
Jeff Wadlow’s adaptation of the late-’70s TV show is a thrill-free getaway that only entertains when it goes from generic to incoherent.
The cinematographer of Sundance favorite Jumbo talks about transforming a tilt-a-whirl into Noémie Merlant’s living, breathing lover.
Jason Mantzoukas loses his memory and steals the show. Well, this was a lot of fun. This week’s […]
Nat Faxon & Jim Rash’s remake of Ruben Östlund’s 2014 dramedy is a dragged-out rehash that oversimplifies its point—and then loses it.
Netflix’s sequel to To All the Boys I’ve Loved Before keeps the charm but loses some of its edge.
From live-action to animated to documentaries, we flip through the Academy Awards’ shorts offerings to see what we think should win.
Emerald Fennell’s feature debut may be flawed, but it’s an empathetic portrayal of rage, anguish, and black comedy.
Eugene Kotlyarenko’s satire about a rideshare driver who murders for online fame lacks the bite or nuance its premise deserves.
Portrait of a Lady on Fire’s Noémie Merlant gets sweet on a theme park ride in this charming, if conventionally quirky dramedy.
Janicza Bravo’s retelling of the 2015 viral Twitter thread boasts great performances and surprisingly solid filmmaking, even if it ends on a shrug.
Sandwiched between a rough start and too tidy of an ending, Carlos López Estrada’s latest finds love in its large ensemble.
Part deadpan comedy, part drama, and part neo-noir, Jim Jarmusch’s 2005 indie remains one of his most textured—and one of his most approachable.