Movie Reviews and Ratings
Nightbitch
Elevating the material tremendously, Amy Adams is back on her A game here.
Elevating the material tremendously, Amy Adams is back on her A game here.
This spry and polished sequel has clearly been given time to develop instead of being rushed out.
Only those with an irrational hatred of musical theatre will be immune to this jaunty production’s considerable charms.
Someone, somewhere justified spending a quarter of a billion dollars on the most convoluted and hard-sell holiday lore since DreamWorks Animation’s “Rise of the Guardians.”
It’s remarkable how much emotional weight Jesse Eisenberg packs into his sophomore directorial effort, a film that runs just 90 minutes and feels even shorter.
A dastardly Hugh Grant carries a really good A24 horror movie on his able back in “Heretic.”
As overtly Christian as any mainstream Christmas film, this “Pageant” prioritizes spreading a message over elevating the craft.
A questionable achronological approach does nothing to derail this tender, heartwarming, and well-acted romance.
“Monster Summer” evokes the vibe of ’90s “Goosebumps” but with better production values and less silliness than the R.L. Stine TV series.
For a movie that opens with fantastical hallucinogens, “My Old Ass” has a firm grip on reality and a deep understanding of what it’s like to look back at one’s formative years with perspective.
While the film itself does not rank among his more dramatically fulfilling efforts, “Megalopolis” displays copious and admirable passion from the legendary Francis Ford Coppola.
Until its disappointing final act, this outrageous and stylish body horror film holds you captive and impressed.
The makers of “Super/Man” avoid hagiography, which is no easy feat in this cleverly-titled, well-made documentary reflecting on the highs and lows of the actor’s career and personal life.
This long-in-the-works sequel lets Tim Burton play in his old wheelhouse in a way that feels right and well-earned.
Taking its cues largely from the two most esteemed entries in the franchise, “Romulus” keeps us invested with rich suspense, gripping spectacle, and the incomparable production design that comes with the territory.
First-time director Zoë Kravitz does a pretty good job of justifying her privilege and hiding her inexperience in this stylish and trippy thriller.
Alternately funny and heartbreaking, nostalgia-inducing for the tail end of Millennials, and generally life-affirming for all of us, Dìdi is a sharp and satisfying debut.
Messy and a tad overlong, but also a lot of fun and decidedly unlike any other tentpole entertainment that Hollywood is putting out these days.
Despite the impressive talent at the helm, “Twisters” is big, dumb, and not much fun.
It’s not intellectual or cutting-edge, but there is some mild charm to be found in the retro setting and gee-willikers tone.
A mix of feel-bad and feel-good moments complement one another and add up to something stirring, life-affirming, and not soon forgotten.
A clear increase in budget does nothing to dilute the passion that writer-director Ti West and leading lady-producer Mia Goth hold for this A24 horror universe.
Yorgos Lanthimos’ new anthology is a master of cinema at the top of his game sharing some of his weirdest work yet.
A serviceable prequel that never comes close to approaching the lofty heights of the two films from which it is spun.
Award-winning playwright Annie Baker makes a slow but absorbing film debut.
A wildly uneven tragicomic fantasy whose hold on your appreciation is weak and fleeting.