Wonka is more like Paul King’s Paddington movies than either Gene Wilder’s 1971 adaptation or Roald Dahl’s original book.
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Takashi Yamazaki’s Godzilla Minus One works as a compelling postwar drama as well as an exciting kaiju picture.
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The Boy and the Heron, Hayao Miyazaki’s latest masterpiece, beautifully poses the question of how do you live in a broken world?
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The Holdovers is something of a Christmas miracle: an Alexander Payne movie that doesn’t have contempt for its characters.
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Gareth Edwards’ The Creator borrows liberally from other, better films, but it’s strikingly relevant in our present moment.
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Talk to Me hides some clever commentary on the dissociation of Gen Z in its creepy seance scenario.
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Barbie is a summer confection that never resolves the contradictions behind its approach.
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Oppenheimer is a biographical epic that is also distinctly a film by Christopher Nolan.
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Mission: Impossible – Dead Reckoning Part One has industry-leading actions sequences, but the structure and length demonstrate the bloat that has infected all of Hollywood.
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Does the modern world need Indiana Jones?
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The Flash is another Hollywood blockbuster mediocrity and the messy end to the DC Extended Universe.
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Louis Leterrier’s Fast X is most distinctly an overlong franchise jumble.
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Graham Foy’s The Maiden is a remarkable debut feature and the kind of mysterious drama that provokes the same profound reaction as our most vivid, consequential dreams.
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Paul Schrader ends his “Man in a Room” trilogy with Master Gardener, which is simultaneously the most challenging and optimistic of the trilogy.
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Matt Johnson’s BlackBerry is a rollicking, self-aware, gutsy good time.
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Adrian Murray’s Retrograde is a subdued micro-indie that’s too limited by its style and approach.
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Makoto Shinkai’s remarkable new anime, Suzume, is defined by striking visuals and a compelling blend of fantasy adventure and contemporary character drama.
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Daniel Goldhaber’s adaptation of the nonfiction book, How to Blow Up a Pipeline, works well as both a taut procedural drama and a work of moral-political questioning.
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John Wick: Chapter 4 is as much endurance test as action epic, but it still delivers the excellent action choreography we expect of the series.
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Chander Levack’s I Like Movies is a coming-of-age film that relies on the specificity of its character and setting to compensate for its conventional narrative.
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