Moshe Zonder, Dana Eden, and Maor Kohn’s new espionage series boasts solid acting and craft in the face of some wonky storytelling.
drama
Philippe Lacôte directs a unique film about a young man who’s forced to tell stories to save his own life.
Paul Verhoeven’s infamous 1995 satire isn’t Camp going by Susan Sontag’s definition, but it is one of the great American movies.
Gillian Flynn’s new Prime series is an ambitious saga that offers loads to chew on, assuming you can handle the bleakness of it all.
Cameron Crowe’s rock and roll dramedy may not be the most realistic tale, but it’s a keen mix of chaotic and crowd-pleasing.
Christopher Plummer & Archie Panjabi investigate a mysterious aircraft incident in Peacock’s solid new drama.
Gerard Bush & Christopher Renz’s feature debut is a misguided, crass, often silly tale that throws away its cast and premise.
The latest from Sean Durkin is a quiet, searing look at a family falling into disarray featuring stellar work from Carrie Coon.
Christopher Nolan’s latest sci-fi thriller is often something to behold, but it’s nowhere near the brilliant art it thinks it is.
Charlie Kaufman’s minimalist meditation on mortality is as hard to get through as it is oddly rewarding.
Isabel Sandoval directs & stars in a layered story of a woman struggling to live in a hostile world.
Marco Pontecorvo directs a thoughtful look at why we often choose faith over fact.
Rinio Dragasaki’s quirky comedy-drama about an unlikely parent-child relationship means well, but relies on a tiresome trope.
A half-remembered tale of revenge, Park Chan-wook’s 2003 thriller is still as steeped in extreme cinema as it is ancient tragedy.
Rough around the edges but fascinating nonetheless, Park Chan-wook’s breakout hit remains a signal of his later work.
Hans Petter Moland’s adaptation of Per Petterson’s novel is a sensual look at growing up, but it’s more inert than introspective.
Bennett Miller’s adaptation of Michael Lewis’ book is an overlong, overcrowded sports biopic partially redeemed by its cast.
Rhonda Byrne’s bestselling “law of attraction” nonsense gets a cloying, predictable romantic spin with better performances than it deserves.