This adaptation of the popular graphic novel series for kids is somewhat charming, but still falls prey to many of today’s worst excesses in contemporary children’s animated fare.
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Ti West’s X is a nasty, entertaining slasher with well-developed characters and some surprising moral commentary.
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Matt Reeves’s take on Batman is brooding, stylish, and refreshingly cinematic.
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Joachim Trier’s The Worst Person in the World expresses the ineffable in ways that are rarely achieved on film.
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Spider-Man: No Way Home is fun as a movie, but troubling as a statement about where Hollywood is headed.
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Matt Bettinelli-Olpin and Tyler Gillett’s “requel” of the Scream series doubles down on the meta aspect of the series to entertaining effect.
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Lana Wachowski’s legacy sequel is a meta-investigation of the meaning of the franchise and an idiosyncratic science-fiction romance.
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Pablo Larraín’s film starring Kristen Stewart as Princess Diana smartly plays more like a psychological horror film than a tasteful biopic.
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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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