Spring Review Roundup: “The Christophers,” “Hamlet,” “Exit 8,” and “The Drama”
Soderbergh! Riz Ahmed! Liminal space! A24 nonsense!
“The Chronology of Water” Review: A Queen of Waves and Words
Kristen Stewart distills Lidia Yuknavitch’s life one texture at a time: water, blood, flesh, fury.
“Ready or Not 2: Here I Come” Review: Radio Silence Takes a Page From John Wick’s Playbook
While most slashers have unlikable, unintelligent protagonists, “Ready or Not 2” Samara Weaving as a street-smart badass.
“The Bride!” Review: Maggie’s Monstrous Metafiction
The film is wild, unfocused, and utterly chaotic—and it may end up being one the best movies of the year.
“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.
