A sensitive, nuanced Chicago dramedy that dives into the emotional complexities of abortion.
Tiffany Haddish, Rose Byrne and Salma Hayek glow up an otherwise-dire January comedy about fashion and friendship.
The charming Canadian adaptation of L.M. Montgomery’s Anne of Green Gables comes to a lovely if untimely end.
The director of the Sundance favorite discusses her coming-of-age tale Hala.
Greta Gerwig’s adaptation of the Louisa May Alcott book is sensitive, challenging, and earnestly engages with the source material.
Elizabeth Banks revives the girl-power action franchise with new blood and a solid if formulaic actioner.
Lorene Scafaria drenches her recession-era crime dramedy in neon, bills, and deep intention.
The acclaimed filmmaker stumbles in her slick, but inaccessible portrait of the iconic civil rights figure.
Richard Linklater’s latest removes the mystery from the Marie Semple novel, but ends up a flawed but welcome reflection on aging and creativity.
In a year of TV series reaching their much-vaunted conclusions, Orange Is the New Black went out with a seventh season filled with drum-banging polemic.
Quentin Tarantino’s half of the nostalgia throwback Grindhouse is as problematic as it is strangely empowering.
Frailty, thy name definitely ain’t “woman” in this feminist retelling of Hamlet.
Céline Sciamma’s queer period romance is an intimate visual feast, filled with uncanny empathy and admirable aesthetics.
We speak to the director and writer/star of Chicago Critics Film Festival’s opening night film about the disturbing timeliness of their Chicago-set drama.
Amy Poehler’s directorial debut is filled with hilarious women, but this attempt at a female Sideways doesn’t quite hit the right notes.
We take a look at the ways Pam Grier, Tamara Dobson, and other blaxploitation stars elevated their iconic characters beyond white-written stereotypes.
A pioneering work of Black Queer Cinema, Cheryl Dunye’s vibrant “Dunye-mentary” reckons with traditional queer narratives and the racism of Old Hollywood.
Luca Guadagnino’s disturbing, cerebral remake of the Dario Argento giallo original is an ice-hot knife to the cerebellum, […]