The black comedy, at times too broad, has standout performances from Allison Janney and Margot Robbie.
Including Margot Robbie, Brooklynn Prince, and Daniel Kaluuya.
We’re not so much watching Woodcock the rarefied designer as Day-Lewis the rarefied actor.
Spielberg’s latest has the good fortune of coming out at a time when we’re primed for more stories of women taking the difficult path.
Including Call Me by Your Name, BPM, and Valerian.
In Kaurismaki’s work, it’s as if the masks of comedy and tragedy don’t — as usual — face away from each other, but stare each other in the face.
Don’t underestimate them.
This is his Lincoln.
Everything in the movie registers momentously.
The doc brings you into Jim Carrey’s head in a way that Man on the Moon didn’t.
Julia Roberts, Owen Wilson, and Jacob Tremblay tug insistently on our heartstrings.
It’s as if the actors know they’re coming from behind.
The psychodrama is both more mysterious and more accessible than Joachim Trier’s other films.
Kenneth Branagh’s update on the classic story is a good bet for those unfamiliar, but a bit of a snooze otherwise.
Co-directors Rachel Grady and Heidi Ewing have a visceral aversion to fundamentalist religions.
Writer-director Martin McDonagh begins with a finely calibrated mix of melancholy and quirk, but it ultimately turns broad to the point of silliness.
Marc Meyers humanizes Jeffrey Dahmer without minimizing his monstrousness — or his mystery.
What diminishes the movie is the same thing that holds you: Denzel Washington’s magnetism.
It’s in the uncertainties and dissonances of the film that Richard Linklater’s humanism really expresses itself.
Including Get Out, Baby Driver, and The Beguiled.
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