Twister illustrates much of what has changed, improved, and been lost in the evolution of Hollywood blockbusters since 1996.
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The vulgar, entertaining spirit of Michael Bay is alive and well in this third sequel in the Bad Bays franchise.
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This ain’t the liquor talking. Cocktail isn’t a bad movie.
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Ryusuke Hamaguchi’s follow-up to Drive My Car is a beguiling nature drama.
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The wonderful digital ape characters and a few peaks of world-building cannot cover up the inessential storytelling.
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Stuart Cooper’s Overlord is a seamless blend of fact and fiction and one of the definitive World War II movies.
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Richard Linklater’s Hit Man starring Glen Powell is a hilarious cross between film noir and romantic comedy.
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George Miller returns to the Wasteland of post-apocalyptic Australia with Furiosa: A Mad Max Saga, a direct prequel and satisfying expansion of the world of Mad Max: Fury Road.
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Luca Guadagnino’s Challengers is a fun, sexy good time that showcases star power and style.
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The Wasp and the Orchid is an intriguing first-person account of the migration crisis hitting Europe and Africa.
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Fire Tower is a pleasant, instructive film that showcases a unique occupation and the eccentric individuals that pursue it.
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Rising Up at Night has striking footage of the DRC’s capital, Kinshasa, but its editorial approach is muddled.
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Porcelain War is beautiful propaganda, but propaganda nevertheless.
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This well-meaning documentary never justifies its feature length or the specific focus of its narrative.
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The best part of the Road House remake is Jake Gyllenhaal, who makes his bouncer-warrior another one of his dark loner characters.
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Made in England: The Films of Powell and Pressburger is an interesting primer on the works of these great directors, as well as an insightful window into the artistic journey of Martin Scorsese.
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Agent of Happiness shows the process behind Bhutan’s Gross National Happiness and interrogates the very notion of what composes a happy life.
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Bertrand Bonello’s The Beast starring Lea Seydoux and George MacKay is a fascinating, messy film that imagines a captivating romance and an intriguing, if not entirely credible, future.
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Albert Brooks’s film is an amusing, if ultimately unsatisfying, comedy about what happens after death.
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Colin and Cameron Cairnes’ Late Night with the Devil has a brilliant stylistic conceit that makes it a compelling take on the found-footage horror subgenre.
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