Movie Review

Gareth Edwards’ new dystopian sci-fi epic is a gorgeous morass of AI doomerism that’s lacking in the way of novel ideas.

This Is Not Financial Advice and Easy Money attempt to explain the extremely online financial mania. Their very divergent takes show how difficult it is to fully understand.

Director Ángel Manuel Soto’s new Blue Beetle movie checks all the flashy, formulaic boxes Warner Bros. should have been focusing on when it first started trying to build a modern cinematic universe.

The Last Voyage of the Demeter turns one of the most riveting chapters from Bram Stoker’s Dracula into a soggy feature-length horror that never finds its sea legs.

Lionsgate’s new dark comedy from director Joachim Back plays more like a lengthy ASMR video starring Jon Hamm.

Teenage Mutant Ninja Turtles: Mutant Mayhem is a classic retelling of its pizza-obsessed heroes’ origin story that’s elevated by phenomenal art direction.

Director Juel Taylor’s debut feature is a slick and stylish celebration of the Blaxploitation genre and the Black culture that gave birth to it.

Christopher Nolan’s Oppenheimer epic offers a series of visceral glimpses into the life of the father of the atomic bomb but gets too busy to reach its full potential.

Greta Gerwig’s Barbie is often good and sometimes great, but it always feels like it’s fighting to be itself rather than the movie Warner Bros. and Mattel Films want.

Paramount’s seventh Mission: Impossible is the franchise’s biggest, silliest, and most stunt-filled Tom Cruise delivery system yet. But its self-awareness is more of a bug than a welcome feature.

The newest Indiana Jones movie isn’t trying to reinvent the classic Lucasfilm formula, but it is trying to make you think about what it really means to obsess about the past.

Pixar’s latest animated feature from director Peter Sohn doesn’t want to be another Zootopia, and yet...

Wes Anderson’s inclination to put style before substance is what keeps his latest from being the truly thought-provoking piece of cinematic art it wants to be.

Paramount’s new Transformers feature barely capitalizes on Beast Wars’ Maximals, but the action-packed movie has a couple of surprises sure to please a certain kind of fan.

While the core conceit of Warner Bros. Discovery’s The Flash is solid, the movie’s too-meta nostalgia plays highlight everything that has gone awry with the studio’s superhero movie experiment.

Sony’s Into the Spider-Verse sequel is a bigger, bolder, more ambitious film than its predecessor — and a powerful deconstruction of Marvel’s Spider-Man mythos.

Halle Bailey’s turn as The Little Mermaid’s Ariel is inspired, but the movie’s lackluster sense of visual magic does her very few favors.

Universal’s 11th Fast & Furious movie is essentially a thinly plotted telenovela that’s way more fixated on feelings and family than cars.

James Gunn’s third Guardians movie is packed with stunning set pieces, but its saccharine attempts at sentimentality and a by-the-numbers plot keep it from ever reaching lift-off.

Save for Nicolas Cage’s over-the-top Dracula, almost nothing about Universal’s Renfield really works the way it could.

Makoto Shinkai’s Suzume is his most exuberant movie yet and a powerful rumination on holding space for the past.

Director Ari Aster’s Beau Is Afraid amps up the comedic absurdity to tell a haunting story about coping with anxiety.

From its cheesy nostalgia plays to its breathtaking and imaginative visuals, Universal’s new Mario movie is everything a video game adaptation should be.

A John Wick-style action film about an assassin balancing her bloody career with being a single parent.