While effective at first, Khaled Ridgeway’s feature debut goes from dark comedy to conventional sappiness.
Paul Verhoeven’s infamous 1995 satire isn’t Camp going by Susan Sontag’s definition, but it is one of the great American movies.
The former Daily Show host’s sophomore film is a dated, centrist screed that fundamentally misunderstands our current political moment.
The once-controversial story of “liberal elites” hunting people for sport has a provocative premise, but it’s far less than the sum of its parts.
Greg Daniels dreams up a perfectly imperfect portrait of a heaven owned by shareholders. Don’t worry; it’s also funny.
Eugene Kotlyarenko’s satire about a rideshare driver who murders for online fame lacks the bite or nuance its premise deserves.
Jay Roach’s retelling of the Fox News harassment scandal has sufficient momentum and typically strong performances to largely overcome its undercooked politics.
(This dispatch is part of our coverage of the 2019 Chicago International Film Festival.) Welp, CIFF keeps chugging […]
Tone-deaf obviousness and blunt-force capitalist critiques plague Morris’ latest, letting down its good intentions with disappointing bluntness.
Danny McBride’s latest collaboration with Jody Hill and David Gordon Green doesn’t quite keep the faith.
HBO’s cuttingly dark upper-crust family drama carves new depths of capitalist depravity in the season premiere.
Sameh Zoabi’s politically-charged satire of Palestinian soap operas works better as farce than social polemic.
Zach Gayne’s psychological thriller/comedy about female friendship starts out strong, but quickly loses its way.
An early Quentin Tarantino screenplay is turned into an over the top look at America’s obsession with crime & criminals.
Denys Arcand’s droll French caper comedy leans a little too hard on cliche and creaky anti-capitalist screeds.