- Review: Cuaron crafts a neorealist masterpiece in 'Roma'
- Review: A delicious, vicious acting feast in 'The Favourite'
- Review: 'Black Panther' is dazzling grand-scale filmmaking
- Review: 'Bohemian Rhapsody' won't rock you, but Malek will
- Review: Spike Lee's 'BlacKkKlansman' is daring and essential
- Review: 'Green Book' is sure to put a smile on your face
- Review: 'A Star Is Born' is dizzyingly wonderful
- Review: 'Vice' is exhausting, but Bale's something to behold
Kids under the age of 18 are being persecuted by adults for their special powers in "The Darkest Minds ," an adaptation of book one of Alexandra Bracken's young adult trilogy that's about five years and 15 movie dystopias too late to feel the least bit fresh or interesting.
Review: McKinnon channels her inner spy in uneven ‘Spy’
From the get-go, "The Spy Who Dumped Me," a Kate McKinnon-Mila Kunis buddy spy comedy, has two things going for it.
First, female spies are clearly in vogue, if you've been reading the news — or if you prefer your spies to be fictional, may we recommend Keri Russell's recently departed Elizabeth Jennings on "The Americans"?
Director X's "Superfly" transplants the 1972 Blaxploitation classic from Harlem streets to suburban Atlanta mansions, flips Curtis Mayfield's soul score for Future's hip-hop soundtrack and forsakes the original's politically charged grit for shallow music-video indulgence.
"The Incredibles" writer/director Brad Bird has said that his characters' powers are all born of stereotypes. Dad is strong, mom is stretched in a million directions, teenage girls put up shields, little boys are full of boundless energy and babies are unpredictable. It's why he decided that for the sequel, "Incredibles 2 ," a buoyant and quick-witted romp, he'd pick up right where we left off, in that parking lot after Dash's track meet where a new threat emerges from underground. No matter that in reality, 14 years had actually passed. Animation is not bound by time or aging actors.
Steven Soderbergh's "Ocean's Eleven" remake is a hard movie to live up to. Its starry charm was backed by a breezy and deceptively dense script full of memorable characters, dizzyingly complex logistics and lively filmmaking that Soderbergh himself couldn't even recreate in the two sequels. But it is undeniable that even the near-perfect "Eleven" was missing something pretty major: Women. You know, besides Julia Roberts, that blackjack dealer and the one exotic dancer.
Here's the good news: "Jurassic World: Fallen Kingdom " is more fun than "Jurassic World." It's not exactly a high bar, but still a welcome surprise. In the hands of a new director, J.A. Bayona, with Chris Pratt's high-wattage charisma on full blast and a fair amount of self-aware humor intact, there are certainly worse ways to spend a couple hours in the air-conditioned multiplex this summer.
Woman vs. nature. It certainly has a ring to it, especially when woman wins. But there are too few such stories in our popular culture, and certainly on our movie screens.
So long a staple of the moviegoing experience, the summer comedy has fallen on hard times. There are hardly any on this season's release schedule, and one of the more promising candidates — "Ibiza," starring the terrific Gillian Jacobs and the former "Saturday Night Live" cast member Vanessa Bayer — isn't playing in theaters but is streaming on Netflix.
If there's one takeaway from "Solo: A Star Wars Story ," it's that our favorite scoundrel had been through a lot before he ever met up with Luke, Obi-Wan and Leia.
At a recent screening of "Deadpool 2," the audience didn't get up when the end credits came up, patiently sitting through the scrolling names of visual effects supervisors and lighting specialists. Real "Deadpool" fans know to stick around until the ushers toss them out.
That's because the filmmakers aren't content with containing their sprawling, anarchic and subversive hero in any conventional box. No, in the world of Deadpool, even the boring end credits are studded with jokes and teases.
Productions of Anton Chekhov's "The Seagull" almost always tip too far into farce or wade too deeply into tragedy, unable to sustain the play's elusive balancing act. Michael Mayer's lush and lively big-screen adaption is unfortunately no exception.
Garry Marshall's 1987 comedy "Overboard" might not have gotten the best reviews when it came out, but it was a viewing staple in my childhood home.
NEW YORK (AP) — The title character of Jason Reitman's "Tully" descends not from the clouds, carried by an umbrella in the wind, but glides cheerfully through the front door on a black night. She arrives just as Marlo (Charlize Theron), the mother of two plus an unplanned-for newborn, is reaching the limits of exhaustion.
Is RBG getting enough kale?
That was the question — only partly in jest — that circulated back in early 2017 when President Donald Trump nominated Neil Gorsuch to the Supreme Court. The idea — for liberals, anyway — was that Ruth Bader Ginsburg had better stay healthy, or the court's precarious balance would be lost.
If you've ever walked into a store and were embarrassed to tell the salesperson your real size, or entered the gym locker room and wanted to hide, you're part of the target audience for Amy Schumer's "I Feel Pretty." Whatever age or gender you happen to be.
Review: Johnson survives the rubble that is ‘Rampage’
Usually paired with smaller companions like Kevin Hart or Moana, Dwayne Johnson is for once the diminutive one in "Rampage," a hopelessly bland and bizarrely self-serious monster movie.
Review: Plenty to love in film about Borg versus McEnroe
Let's begin this review of "Borg Vs. McEnroe" with a huge spoiler alert. The final score of the 1980 Wimbledon men's final between Bjorn Borg and John McEnroe, which takes up the climactic last third of the movie, was 1-6, 7-5, 6-3, 6-7, 8-6. It's not a secret, really. And, in the end, it doesn't really matter.
Cinema might have a worthy successor to early Terrence Malick in Chloe Zhao, whose second feature "The Rider " is a spiritual and poetic journey into the fading world of the Lakota cowboy, starring the real people who inspired her film.
The teen sex comedy, a dude-fest if there ever was one, gets a very overdue and very funny update in Kay Cannon's "Blockers," a gleeful, gross-out farce about the absurdities of gender bias.
Ambiguous and damning at once, John Curran's "Chappaquiddick" plunges us back into the summer of 1969: the season of Woodstock, the moon landing, the Manson murders and the lowest ebb of the Kennedy mythology.
Let's start with a popcorn warning. If you're bringing your usual tub of multiplex popcorn into "A Quiet Place," just be aware that you'll be hearing every single crunch.
Review: Slick neo-noir ‘Gemini’ stays surface level
Writer-director Aaron Katz's "Gemini " is a very stylishly executed and well-cast attempt at a Lynchian neo-noir that doesn't really work. Glum and meandering, the Los Angeles-set mystery about a Hollywood starlet and her assistant starts off promising enough but trudges along aimlessly to a deeply silly and maddening end.
When a figure is as fundamental to our history and national identity as Martin Luther King Jr., is there anything left to learn about him?
"Why can't we go backward for once?" wonders the protagonist of "Ready Player One" shortly before gunning his "Back to the Future" DeLorean in reverse. "Really put the pedal to the metal."
Steven Soderbergh, who briefly retired from Hollywood after lamenting its timid small-mindedness, has shot his second post-hiatus film entirely on an iPhone.
"Unsane," a pulpy psychological thriller, is an exercise in both genre and technology. It's a B-movie iMovie. And it's 98 minutes of proof that the laborious apparatus of filmmaking can be not only light on its feet, but fit snuggly inside your pocket.
At the end of the monsters-versus-robots flick "Pacific Rim," a breach at the bottom of the Pacific Ocean is closed, plugging a hole that allowed hellish creatures to emerge and terrorize the globe. But after the movie earned $400 million worldwide, was that portal really going to stay closed?
Review: Wes Anderson doesn’t stray with ‘Isle of Dogs’
There is an out-of-body melancholy that sets in about three quarters of the way through Wes Anderson's ninth feature "Isle of Dogs ."
Yes, you will be inexplicably wrapped up in the drama of a gang of sickly stop-motion animated dogs who have been exiled to a trash island and are determined to get back to a life of cozy domesticity, enchanted by its artistry and trying your best to suppress your laughter so you don't miss a beat.
In "Tomb Raider ," which has elements of "Indiana Jones," ''Batman" and even "Tron: Legacy," but with an angsty young woman at the center instead of an angsty young man, Alicia Vikander takes a lot of beatings. She is punched in the face, and in the stomach, she is thrown against rocks and sent careening through a forest, she is impaled, hit by a car, left in an impossible one-handed dead hang at least four times, and she is choked, really choked, by both men and women alike.
It's been a mere 14 years since the last "Benji" movie. But in dog years, that's an eternity.
"Benji," which lands on Netflix on Friday, is an earnest attempt to rekindle the most earnest of film franchises, which dried up with "Benji: Off the Leash!" in 2004. In an entertainment world more cacophonous than a kennel, bringing back such an exceedingly wholesome creature is a kind of a test: Can the humble, wordless tricks of a mongrel born and bred in the '70s still charm young viewers?
Some things are universal about being a teenager: The budding sexuality and sense of identity, the dramatic emotions, the profound need for acceptance and confusing inklings of first love.
Countless movies (and books and songs and TV shows) plumb the agony and elation of teen romance, but "Love, Simon" brings fresh perspective to the genre by focusing on an experience unseen in coming-of-age tales: What high-school first love might be like if you're gay.
Just as history enshrines its heroes, it aggrandizes its villains.
The most fearsome perpetrators of evil can become calcified in the horror of their atrocities. It becomes easy to imagine them as stern, foreboding figures who could have only earned their impunity through obsessive, bloodthirsty rigor.
The good news is David Oyelowo is a terrific comedic actor (who knew!).
The bad news is that the vehicle for discovery, Nash Edgerton's "Gringo ," is a contrived action-comedy that is trying its hardest to shock and offend, but, you know, in a funny, cool B-movie way that involves someone's toe getting cut off with wire clippers and Charlize Theron, a seductress in a corner suite, talking a lot about sex.
Go ahead, pick your favorite young, villain-vanquishing fantasy heroine. Meg Murry probably came first.
Katniss Everdeen? She arrived in 2001. Hermione Granger? That was 1997. Elphaba, the green girl from "Wicked"? 2003. But Meg, the reluctant, bespectacled heroine of Madeleine L'Engle's classic "A Wrinkle in Time," has been with us, and on the shelves of middle-schoolers, since 1962.
Review: Israeli family/military drama ‘Foxtrot’ is a stunner
Watching the Israeli film "Foxtrot " is like watching a dream play out.
Review: ‘Red Sparrow’ with Jennifer Lawrence never takes off
In the James Bond films, sex with a globe-trotting spy seems to be fun, fun, fun. A martini, a tuxedo, a witty line or two and then it's off to a luxurious bed with two tanned, muscular bodies. Not so in the new thriller "Red Sparrow ," where the sex is cold, ugly and often violent.
Review: Lean and mischievous, ‘The Party’ is worth your time
Sally Potter's new film "The Party " is 71 minutes long.
That fact alone shouldn't necessarily be a selling point — stories need as long as they need — but when superhero movies and comedies regularly extend well past the two-hour mark, it's hard not to appreciate the restraint.
Review: A harrowing tragedy in Russia’s Oscar nom ‘Loveless’
Russia's foreign language Oscar nominee "Loveless " is a beautifully shot and elegantly constructed film about an already broken family in a moment of crisis and tragedy. It's also one that is so bleak and unpleasant to sit through, and sit with afterward, that I could honestly only recommend "Loveless" with extreme caution, if at all.
Review: ‘Nostalgia’ is an unrushed poem with a great cast
One of the first images in the film "Nostalgia" is of an heirloom necklace dangling on the neck of a diner waitress. One of the last images is of a massive puffy cloud, ever shifting in the wide sky.
Between these symbols of permanence and flux is a deeply meditative movie about time, loss and the stuff we fiercely hold onto along the way. "Nostalgia" is thoughtful and lyrical, an unrushed poem with a first-rate cast.
Review: Eastwood’s ’15:17′ recreates a thwarted attack
In his latest film, "The 15:17 to Paris," Clint Eastwood has taken his famously no-frills filmmaking further than ever before. Having already dispensed with many of the typical accoutrements of Hollywood filmmaking — lengthy development, a battery of takes, any handwringing at all — he has, with characteristically little anguish, jettisoned actors from the picture, too. Who needs 'em, anyway?
Review: Earnest ‘Peter Rabbit’ sure to delight young fans
With warm nostalgia for Beatrix Potter's classic children's tale, "Peter Rabbit " director, producer and co-writer Will Gluck channels the author's earnestness into a sweet film sure to delight young fans.
Adults may find the plot predictable and the pacing a bit wanting, but the dynamic animation and beloved characters help compensate, as does the film's cheeky self-awareness.
Review: ‘Cloverfield Paradox’ desperately needs sharpening
The big draw following the thrilling Super Bowl was a fresh episode of "This Is Us." But, very mysteriously, there was suddenly something else big to see.
Netflix surprised nearly everyone by streaming the latest "Cloverfield" film directly after the game. But up against one of TV's most popular shows — promising an answer to a long-running cliffhanger — was it a terrible miscalculation or an attempt to hide a clunker?
Review: A star is born in Oscar-nominee ‘A Fantastic Woman’
The lead character of Sebastian Lelio's film "A Fantastic Woman " is named Marina. She is a nightclub singer and a waitress. She has a boyfriend, Orlando, who is much older than her, but that matters little. They are clearly smitten with one another and in that post-honeymoon phase of the relationship where things are still passionate, but also calm and comforting. They're planning a trip together. She's moving in. Life is moving along nicely it seems.
Review: A provocative drama in Oscar-nominated ‘The Insult’
In the provocative Lebanese film "The Insult ," a minor conflict over a gutter between two ordinary men in Beirut spirals and escalates to the level of national significance with the stability of the country hanging in the balance.
Review: With Hugh Grant, ‘Paddington 2’ is simply wonderful
"Paddington 2 " is that rare creation that somehow improves on its already charming predecessor.
Maybe it's the addition of Hugh Grant as a lunatic faded star desperate for some cash to get his one man show going, Brendan Gleeson as a moody prison chef named Knuckles McGinty, a totally random dance routine during the credits, or just the sheer earnestness of it all but "Paddington 2" is a total delight.
Review: Liam Neeson rides again in ‘The Commuter’
The tagline for the Liam Neeson Metro-North thriller "The Commuter" — "Lives are on the line" — feels like a missed opportunity. I would have gone with: "The quiet car is about to get loud."
Review: Bale, landscapes, boost grim western ‘Hostiles’
Enemies are thrown together for a perilous journey in "Hostiles ," an unforgivingly violent and sparse revisionist Western set in 1892 that explores the traumas of American westward expansion.
Review: In ‘In the Fade,’ a seldom seen face of terrorism
It's startling how few filmmakers have tried to tackle terrorism with anything beyond a standard procedural account. It's less surprising that one of the few to really grapple with a response is Fatih Akin, the German-born filmmaker of Turkish descent, whose thorny, probing dramas traverse borders as a matter of course.
Review: ‘Jumanji’ sequel serves up stars, good hearted fun
More than two decades after Robin Williams conquered that pesky board game, "Jumanji" has been resurrected with more and glossier stars (Dwayne Johnson, Kevin Hart and Jack Black), a comedy director and a "modern" twist. The result, "Jumanji: Welcome to the Jungle ," is a very sweet, and generally entertaining body swap lark with some nice messages about being, and believing in, yourself.
Review: Spielberg, Streep and Hanks deliver in ‘The Post’
"The Post " is kind of like the Yankees of movies. A Steven Spielberg directed film about the Pentagon Papers starring Tom Hanks, Meryl Streep and a murderer's row of all your favorite television character actors (Jesse Plemons! Bob Odenkirk! Carrie Coon! Sarah Paulson!)? It doesn't even seem fair. Is there any way it wouldn't be great or least very good?