Andy Serkis’s Venom sequel is a deliriously entertaining, profoundly goofy camp blockbuster.
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No Time to Die is pulled in too many directions by the trends and tastes of the moment, displaying a less sure vision of who Bond is in the second decade of the 21st century.
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Nia 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.
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David Lowery’s adaptation of the Arthurian poem is a strange, bold, and bewitching act of revisionism.
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Rodo Sayagues’ follow-up to the 2016 home invasion horror film is a surprisingly effective and nasty sequel.
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James Gunn’s The Suicide Squad plays like Guardians of the Galaxy with more violence and swearing.
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A film as ironically distanced, and ultimately, disposable as a Twitter thread.
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F9 escalates the series into the realm of pure spectacle and melodrama.
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Florian Zeller’s adaptation of his own stage play is a claustrophobic work of compassion with a great Anthony Hopkins performance.
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The story of Mohamedou Ould Salahi and his 14 year imprisonment is affecting, but Kevin McDonald’s film doesn’t quite do it justice.
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John Lee Hancock’s serial killer drama gestures at the hallmarks of prestige cinema, but is mostly a bore.
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A massive disappointment on almost every level, with an incomprehensible plot, poor action scenes, and a bloated runtime.
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The Nest is a marital nightmare and an excellent sophomore feature from Martha Marcy May Marlene director Sean Durkin.
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Elisabeth Moss and Leigh Whannell craft one of the most entertaining horror movies in years.
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Ken Loach’s latest kitchen sink drama showcases the living nightmare of precarious work.
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Birds of Prey is another example of the DCEU successfully playing fast and loose with tone and consistency.
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The Gentlemen finds Guy Ritchie up to his old, entertaining tricks.
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Richard Stanley’s adaptation, Color Out of Space, shows how deeply the science fiction horror genre is indebted to Lovecraft.
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Bad Boys For Life jettisons the problematic politics of the franchise, but also loses the stylistic flare that made its predecessors so unique.
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Sam Mendes’s one-shot WWI epic is a stunning technical achievement, but its central gimmick limits its overall effect.
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