“Mickey 17” Review: Major Pattinson, You’re Pretty in the Most Peculiar Way
I have some bad news for Robert Pattinson: He is a charming, handsome, and charismatic man.
“Cleaner” Review: Live Dirty or Clean Hard
“Cleaner” could have been the existential slapstick thriller of the season. Alas, it has other ideas.
“Asura” Review: A Cerebral Soap Opera From the Director of “Shoplifters”
Hirokazu Kore-eda’s Netflix series is about four sisters and the unfaithful father they’re stuck with.
“The Magic Hours” Review: A Brilliant Biography of Terrence Malick’s One Big Soul
It is a book about Malick, and also a Malickian book.
“The Brutalist” Review: There Will Be Architecture
There is always the possibility that the director you decry today will be the director you defend tomorrow.
“Babygirl” Review: Leaning Into Sex Positivity
At once risqué and humane, “Babygirl” rejects the false choice between wholesomeness and transgression.
“Nightbitch” Review: Motherhood Makes Her Want to Howl
“Nightbitch” is best described as a movie about a woman who turns into a dog, which is accurate and off the film’s narrative scent.
“Gladiator II” Review: There Was Once a Dream That Was Cinema (and Democracy)
“Gladiator II” walks well-trodden ground, but with enough oomph, transgression, and rage to make it more than UFC in leather skirts.
“Anora” Review: A Sexist Fantasy Masquerading as a Feminist Fairy Tale
“Anora” styles itself as an anti-“Cinderella.” Yet it can’t see past the empty, alluring image it tailors for the male gaze.
“The Apprentice” Review: Make Movies Trump-Free Again
If “The Apprentice” convinces one American not to vote for Trump, it will have been worth making. Beyond that, it’s barely worth seeing.
