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.
Familiar and corny, Disney’s “Young Woman and the Sea” plays like a sober, feature-length version of a “Drunk History” segment.
Jane Schoenbrun’s second narrative feature is an unnerving mystery, a psychological character study, and an art film with both style and substance.
Though questionable on paper and short on well-known talent, this new Apes sequel is a smart, rich and technically stunning adventure.
Tennis has never before been as cinematic as it is in the capable hands of director Luca Guadagnino.
“Abigail” is high-concept, low-intelligence horror where your mind has nowhere to turn but predicting the order and manner in which characters are killed off.
Distributed by A24 and in IMAX, “Civil War” is a union of arthouse and popcorn, one that won’t fully satisfy the distinct needs of either audience but comes pretty darn close most of the time.
Seasoned young actor Dev Patel undergoes a baptism by fire here, making his writing, producing, and directing debuts with a well-stretched $10 million budget and seemingly infinite amounts of ambition.
In quality, tone, and composition, Frozen Empire is extremely similar to its immediate predecessor, Afterlife. Without the emotion and nostalgia of a direct legacy sequel, though, it doesn’t hit as hard.
This is legit, rewarding, high-octane mainstream cinema, the kind that Steven Spielberg used to make and that only Christopher Nolan now seems capable of delivering on a regular basis.
Despite an intermittently witty original screenplay, Ethan Coen’s latest solo comedy lacks the narrative cohesion, aesthetic allure, and cinematic formalism of the offbeat triumphs he’s made with his brother.
In this messy but entertaining horror romance comedy, first-time director Zelda Williams and Academy Award-winning screenwriter Diablo Cody take great pains to make something that looks and feels like it truly hails from 1989.
