Lin-Manuel Miranda’s world-changing musical comes to vivid life on Disney+, but can’t escape the complexities of its cultural dissonance.
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Dawn Porter offers up a heartfelt, accessible tribute to one of Congress’ most stalwart Civil Rights leaders.
Rod Lurie’s military thriller about the Battle of Kamdesh can’t quite nail its critique about the horrors of war.
Shudder’s latest offering from South Korea is a limp, wooden retread of every exorcism and possession movie you’ve ever seen.
Netflix and producer Pablo Larraín offers a modest glimpse of quarantine life that can’t escape the privilege of its authors.
Powerful indies and revisionist superhero series dot some of June’s most addictive home video offerings.
Ron Howard’s gripping historical space thriller teaches us a lot about frustrated expectations in our current moment (and the resolve to overcome them).
David France’s gut-wrenching documentary on the state-sanctioned purge of GLBT people in Chechnya is an excellent expose of the atrocities and portrait of the heroes in Russia.
The former Daily Show host’s sophomore film is a dated, centrist screed that fundamentally misunderstands our current political moment.
The director of Shirley talks about Elisabeth Moss, structuring scenes, and taking creative license with a real-life figure.
Olivier Assayas’ latest is a clunky thriller that resists cinematic convention to its detriment.
Channing Godfrey Peoples makes her debut with an emotional, inspiring tale of the complicated roads Black women must walk in America.
Patrick Vollrath’s feature debut shifts from Hitchcockian claustrophobia to tone-deaf xenophobia.
Shudder’s new anthology film pokes fun at horror cliches, but can’t quite overcome a dreary final segment.
Gus Van Sant’s 1991 queer classic is a mournful tone poem about lost youth, and the intersection between class and queerness.
Three decades later, Joe Dante’s gleefully anarchic monster-movie sequel remains an underappreciated cult classic.
Spike Lee explores the painful history of Blackness in American warfare with this lengthy, but gripping, Vietnam epic.
Gus Van Sant’s queer Western was received with scorn by critics when it first came out, but its celebration of the abject deserves reconsideration.