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.
Hirokazu Kore-eda’s first film outside of his native Japan is a light, star-studded family affair of modest potential and diminishing returns.
Netflix and producer Pablo Larraín offers a modest glimpse of quarantine life that can’t escape the privilege of its authors.
20 years later, Roland Emmerich’s Revolutionary War drama skewers U.S. history and Mel Gibson’s persona without trying to—or realizing it.
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.
Playing a creator who needs adoration, Philip Seymour Hoffman revels in the idiosyncrasies of famed author Truman Capote in Bennett Miller’s biopic.
After a handful of missteps, Gus Van Sant regained his footing with a solid—if fittingly flawed—indie.
Matthew McConaughey wasted a performance in Gus Van Sant’s most disappointing film, a self-important look at white male redemption.
Glib in concept and garish in emotions, Gus Van Sant’s quirk-fest is a testament to just how grating the Manic Pixie Dream Girl trope can be.
Gus Van Sant’s squeaky clean biopic about the famed gay rights activist marks a myopic and pandering misstep in the director’s filmography.
Both tactile and ethereal, Gus Van Sant’s skateboarding drama saw him expand upon his neorealist work that spanned the 2000s.
Without its own texture or style, Lars Damoiseaux’s camp-adjacent feature debut exists in a vacuum divorced from its inspirations.
The former Daily Show host’s sophomore film is a dated, centrist screed that fundamentally misunderstands our current political moment.