“How to Make a Killing Review”: Glen Powell Steals From the Rich and Gives to Himself
John Patton Ford (“Emily the Criminal”) combines the mythic piety of Francis Ford Coppola and the spiritual torment of Martin Scorsese.
“Good Luck, Have Fun, Don’t Die” Review: Gore Verbinski Breaks His Hiatus—and the Internet
“Good Luck” marks the return of Verbinski a full decade since his last feature, the magically mountainous cult classic “A Cure For Wellness.”
“Send Help” Review: Sam Raimi Directs the Unholy Love Child of “Misery” and “Survivor”
Raimi, now an elder statesman of cinema, indulges his desire to test the limits of character likability.
“Resurrection” Review: Goodbye, Cinema, Hello
Bi Gan’s new film is not only a valentine to moviegoing, but a challenge to moviemakers.
“Avatar: Fire and Ash” Review: Learning the Difference Between Right and Varang
James Cameron’s sequel is a cinematic cousin of his 1989 film “The Abyss,” which confronted (and nearly drowned in) divine endlessness.
Another Happy Day in Hell: A “Hazbin Hotel” Season Two Review
While season two boasts the foul-mouthed sense of humor that made the series a favorite, it also reveals the limits of the streaming model.
“Hamnet” Review: All Things in Heaven and Earth Are Dreamt of in Chloé Zhao’s Cinema
Zhao’s latest is not only in a tormented romance between a woman and a man, but between wildness and civilization.
“Frankenstein” Review: Guillermo del Toro Beautifully Revivifies His Literary Favorite
Del Toro immerses himself in every facet of creation: the before, the during, and the after.
“A House of Dynamite” Review: On Kathryn Bigelow’s Command, Unleash Hellfire
Annihilating violence rages through Bigelow’s oeuvre, making “A House of Dynamite” seem like the inevitable fulfillment of a promise.
“The Smashing Machine” Review: Dwayne Johnson Learns To Lose in Benny Safdie’s MMA Biopic
After shattering the world record for unmemorable performances in passionless blockbusters, Johnson has surrendered himself to Safdie.
