The only reason any of this works at all is Rosa Salazar and, I hate to say it, those goddamned big eyes.
Starring Taraji P. Henson, What Men Want is a wildly uneven stretch of a movie that’s more of a flail than a romp.
The film made the siblings the hottest things in town, but then the tide turned.
The Oscar-winning Asghar Farhadi changes locales to the picturesque wine country outside Madrid for his foray into Spanish-language cinema.
The childlike, free-associative playfulness is now underscored by a palpable hunger to be the cleverest and coolest kids’ movie on the block.
Including The Souvenir, The Farewell, We Are Little Zombies, and Animals.
“Are they innocent people being killed and you feel bad for them? Or are they people who deserve to die? I decided, No, no. They deserve to die.”
The RPG-inspired debut feature from Makoto Nagahisa is the best Sundance movie about grief since Manchester by the Sea.
Riley Keough plays a survivor of a death cult in the new film from the directors of Goodnight Mommy.
Jake Gyllenhaal reteams with Nightcrawler writer-director Dan Gilroy for a Los Angeles horror-satire that has no use for subtlety.
Extremely Wicked, Shockingly Evil and Vile premiered this weekend at the 2019 Sundance Film Festival
Awkwafina turns in her best acting performance yet in the Sundance Film Festival standout.
Late Night is a Devil Wears Prada for TV writing that’s more neurotic and has more on its mind.
As an origin story for a young actor’s warped worldview, Honey Boy is compelling.
The Inventor fixates on the would-be disrupter’s face as it tries to understand her captivating effect on Silicon Valley.
It’s the kind of expansive live-action adventure tale that we rarely see these days.
An extremely scientific ranking of some of the best heist-movie heists, graded on finesse and planning, style, stakes, and collateral damage.
Jonas Åkerlund’s latest is a sad, lint-filled key bump scraped together from the bottom of the post-Tarantino ’90s exploitation baggie.
Including Mindy Kaling and Emma Thompson’s Late Night, Shia’s autobiographical Honey Boy, and Jake Gyllenhaal and Dan Gilroy’s Velvet Buzzsaw.
Keanu Reeves’s latest would be the stuff of future cult screenings if it wasn’t so boring and muddled.