Are you looking for recommendations about the best and worst in current film releases? Our movie reviews try to get past brief opinions and dig into why a given movie works, and what it has to offer.
Pixar’s latest animated feature from director Peter Sohn doesn’t want to be another Zootopia, and yet...
Wes Anderson’s inclination to put style before substance is what keeps his latest from being the truly thought-provoking piece of cinematic art it wants to be.
Paramount’s new Transformers feature barely capitalizes on Beast Wars’ Maximals, but the action-packed movie has a couple of surprises sure to please a certain kind of fan.
While the core conceit of Warner Bros. Discovery’s The Flash is solid, the movie’s too-meta nostalgia plays highlight everything that has gone awry with the studio’s superhero movie experiment.
Sony’s Into the Spider-Verse sequel is a bigger, bolder, more ambitious film than its predecessor — and a powerful deconstruction of Marvel’s Spider-Man mythos.
Halle Bailey’s turn as The Little Mermaid’s Ariel is inspired, but the movie’s lackluster sense of visual magic does her very few favors.
Universal’s 11th Fast & Furious movie is essentially a thinly plotted telenovela that’s way more fixated on feelings and family than cars.
James Gunn’s third Guardians movie is packed with stunning set pieces, but its saccharine attempts at sentimentality and a by-the-numbers plot keep it from ever reaching lift-off.
Save for Nicolas Cage’s over-the-top Dracula, almost nothing about Universal’s Renfield really works the way it could.
Makoto Shinkai’s Suzume is his most exuberant movie yet and a powerful rumination on holding space for the past.
Director Ari Aster’s Beau Is Afraid amps up the comedic absurdity to tell a haunting story about coping with anxiety.
To look at The Super Mario Bros. Movie’s Rotten Tomatoes score, you’d think Universal, Illumination, and Nintendo might have accidentally made one of the most polarizing films of the year.
In actuality, though, it really is a M a r i o story: something short, sweet, light on nuance, and rich in simple delights.
From its cheesy nostalgia plays to its breathtaking and imaginative visuals, Universal’s new Mario movie is everything a video game adaptation should be.
A John Wick-style action film about an assassin balancing her bloody career with being a single parent.
Engaging, comical, and unapologetically dorky, Honor Among Thieves occasionally stumbles under its own ambition but ultimately proves that high fantasy doesn’t always have to be highbrow.
Director Jon S. Baird’s Apple TV Plus Tetris movie is a textbook example of a biopic that has no idea how to make its story pop.
John Wick 4 is a supersized all-you-can-eat buffet of the franchise’s signature dishes: bullet-riddled revenge, teeth-chattering action sequences, and gossamer-thin characters.
Director Elizabeth Banks’ Cocaine Bear over-delivers on a very simple, silly premise that mostly works because it doesn’t take anything seriously except being ridiculous.
Michael B. Jordan’s directorial debut feels like an experimental remake of Rocky V that finally lets Adonis Creed step outside of his mentor’s shadow.
Watching the third Ant-Man film is sort of like being on a Marvel-themed acid trip that’s actually pretty fun until it comes to a confusingly abrupt halt.
M. Night Shyamalan’s new psychological horror turns the home invasion genre on its head to tell a story about outcasts with the power to save or destroy humanity.
M3gan is even more ridiculous than the trailers let on, but it’s also a surprisingly solid horror comedy.
James Cameron’s second Avatar movie is a visual upgrade over the first, but its story and ideas about fetishization of indigenous peoples are just as retrograde.
Netflix’s new Pinocchio from Guillermo del Toro is a mesmerizing, anti-fascist morality tale.
Marvel’s Black Panther sequel is a simultaneously joyous and mournful return to Wakanda that introduces the MCU’s next great villain.
The sequel doesn’t do all that much new, but it’s a solid take on a dying breed of film
Netflix’s Wendell & Wild is about to join the great canon of spooky stop-motion films from director Henry Selick
