“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.
“Joker: Folie à Deux” Review: Not the Sequel We Want, But the One We Deserve

There’s nothing wrong with making a disappointing sequel. Just make sure you disappoint the right people.
“Megalopolis” Review: Francis Ford Coppola Builds a City of Dreams and Nightmares

Coppola creates a film mesmerizingly at war with itself: obvious and abstract, conservative and progressive, ugly and beautiful.
“Furiosa” Review: Mythic Form Battles Cinematic Function in George Miller’s Epic

What’s a director to do after transporting us to moviegoing heaven? Reach for the sun and get burned, I guess.