Sam Raimi’s breakthrough feature is still a gory good time of cartoon logic and every bodily fluid in the books.
Steve McQueen’s new anthology series is an impassioned, insightful look at anti-Black discrimination in 20th-century London.
A noticeable step up in their artistry at the time, the Coen brothers’ gangster pastiche remains the duo’s crown jewel.
Abel Ferrara serves up a moving, fun ode to a moviegoing experience we all miss, even if it ironically needs some focus.
David Fincher’s Facebook drama remains a bright spot in Aaron Sorkin’s filmography in how it skewers male entitlement.
Pedro Almodóvar’s adaptation of Jean Cocteau’s one-act play is an expansive, carefully constructed half-hour.
Josh Ruben’s feature debut is cozy company for a bit, but it’s far too drawn-out to do its performances or themes justice.
Misinterpreted upon its release, Woody Allen’s 1980 comedy is a worthy riff on the likes of 8 1/2 and Sullivan’s Travels.
Something of an unsung classic, Tony Bill’s directorial debut precedes and exceeds its John Hughes peers of the era.
Paul Verhoeven’s infamous 1995 satire isn’t Camp going by Susan Sontag’s definition, but it is one of the great American movies.
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.
Kurtis David Harder’s new horror allegory can’t sustain its political or narrative ambitions despite a few spooky moments.
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.
The franchise’s long-awaited third entry is a harmless jaunt that lacks its predecessors’ novelty and surrealism.
Jay Baruchel’s adaptation of the 2010 comic is an ugly attempt at social commentary that lacks irony or emotion.