Movie Review
Are you looking for recommendations about the best and worst in current film releases? Our movie reviews try to get past brief opinions and dig into why a given movie works, and what it has to offer.
His story about the interracial couple who changed marriage law is patient, subdued, and seductive.
Marvel’s latest finds a new tone and the trippiest visuals, but slaps them on an origin story that’s just Iron Man and Ant-Man’s origins, plus magic.
Nate Parker’s biopic addresses Nat Turner’s history and his slave revolt without digging into what made him distinctive.
American Honey, The Bad Batch, and Loving top our first day at Toronto
Eastwood likes his heroes serious, but this retelling of recent history stays extra grounded
From casual hamster-murder to a seaweed monster, this overcrowded thriller packs in oddball ideas that don’t add up to much.
The latest from Blue Valentine director Derek Cianfrance is a draggy period drama about selfishness vs. sacrifice.
Luke Scott’s debut film copies Ex Machina and Splice, but without the cultural and technological questions.
Amazon Studios’ latest, starring Michael Shannon and Rachel Weisz, is a wandering journey to one great scene.
This is hands-down one of the best horror movies of the year.
Jeff Bridges and Chris Pine star in this tense, heartfelt neo-Western, the latest film to reexamine the myth of American outlaws.
When beauty is almost more important than storytelling
The latest DC movie lightens the tone and brings in some fun, but it’s incoherent and scattershot.
Anna Gunn stars in a film that’s half Wall Street thriller, half gender-role study.
The first Bourne film to be co-written by director Paul Greengrass prioritizes repetitive revenge over everything else.
The third film in the rebooted Trek universe keeps its characters scrambling, but gives audiences plenty of reasons to love them again.
His latest film is pretty but shallow, and hard to relate to
GKIDS’ latest animated feature brings simplicity back to theatrical animation
Not a lot happens in this quirky, sleepy movie, and the action is erratic when it comes.
A bludgeoning, cathartic, American horror
Taika Waititi’s follow-up to What We Do In The Shadows turns the same comedy bigger and faster
This time, Refn fetishizes femininity the way his films Drive and Only God Forgives fetishize masculinity
The sequel to 2003’s Finding Nemo isn’t entirely necessary, but it’s a sweet, sensitive complement to the earlier film.
There’s bullying, embarrassing selfies, first kisses — and intense violence.