Spider-Man: No Way Home is fun as a movie, but troubling as a statement about where Hollywood is headed.
Read MoreMatt Bettinelli-Olpin and Tyler Gillett’s “requel” of the Scream series doubles down on the meta aspect of the series to entertaining effect.
Read MoreUnder Siege may be Steven Seagal’s best movie, but it’d be much better if he wasn’t in it at all.
Read MoreAnders Thomas Jensen’s action dramedy starring Mads Mikkelsen handles character drama and emotional growth in surprising and moving ways.
Read MoreLana Wachowski’s legacy sequel is a meta-investigation of the meaning of the franchise and an idiosyncratic science-fiction romance.
Read MoreThe problem with Adam McKay’s political satire isn’t that it’s not satire, but that it’s toothless satire.
Read MoreMichael Dowse’s Christmas comedy about the quest for an NES plays like A Christmas Story set in the 1980s.
Read MoreNightmare Alley is a stunning film noir about a marvellously successful bastard and his dreadful comeuppance.
Read MorePablo Larraín’s film starring Kristen Stewart as Princess Diana smartly plays more like a psychological horror film than a tasteful biopic.
Read MoreThe Way Brothers’ raucous film about the Danbury Trashers plays like a sequel to their previous sports documentary, The Battered Bastards of Baseball.
Read MoreRodney Ascher’s film on the simulation hypothesis plays more like a religious testament than a documentary primer.
Read MoreKiyoshi Kurosawa’s horror drama is a quiet film with a haunting effect that’s as disturbing as anything you’ll find in horror cinema.
Read MoreDepending on your affection for and familiarity with exorcism films, Christopher Alender’s The Old Ways may seem admirably novel or hopelessly rote.
Read MoreAndy Serkis’s Venom sequel is a deliriously entertaining, profoundly goofy camp blockbuster.
Read MoreLeo Gabriadze’s found-footage horror movie about cyberbullying reinvents the slasher for the digital age.
Read MoreNia DaCosta’s legacy sequel to Candyman is an ambitious horror movie with a great visual style and score that’s held back by its disappointing ending and reductive themes.
Read MoreEva Orner’s documentary about the Australian bushfires of 2019-2020 is a quick-paced and informative, if overly conventional, work that’s best when it lets its anger fuel its storytelling.
Read MoreDanis Goulet’s debut feature is a potent sci-fi allegory for residential schools held back by its generic dystopian worldbuilding.
Read MoreHo Wi Ding’s provocative Taiwanese drama about loneliness and voyeurism clarifies its themes and narrative in startling fashion.
Read MoreDespite its ridiculous title, Edwin’s Vengeance Is Mine, All Others Pay Cash is more sedate arthouse picture than martial arts extravaganza.
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