“Materialists” Review: Love Dies To Be Reborn In Celine Song’s 21st Century Romance
Song’s follow-up to “Past Lives” is a romantic not-comedy that is entrancing, honest, and heartfelt.
“Always Hold On To Smallville” Review: A Poignant Podcast Eclipses Its Inspiration
“Always Hold On To Smallville” is better—wiser, wittier, more emotional—than “Smallville” itself.
Last Mission: Tom Cruise, Christopher McQuarrie, and the Unfulfilled Promise of “The Final Reckoning”
“The Final Reckoning” is one of the bitterest and most baffling cinematic disappointments of my lifetime.
“Being Maria” Review: Dancing Beyond the Degradations of “Last Tango in Paris”
While most biographical movies are infected with momentousness, “Being Maria” is a lithe series of vignettes.
“Black Bag” Review: Thinker, Traitor, Fassbender, Spy
Like Soderbergh’s “Ocean’s” trilogy, “Black Bag” is a less a story than style bath, bubbling with dashing performers and delectable fashions.
“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.
