A review of ‘La La Land,’ followed by a chat about some achievements sure to go unrecognized by the Oscars.
‘Ghost in the Shell’ is a thoughtful and philosophical blockbuster, like a big-budget art film, with a fantastically precise ScarJo performance.
‘In the Basement’ might provide you with a shocking and amusing experience if you just turned twelve; adults will probably cross their arms and tsk tsk tsk.
A look at the early stages of the Awards Season 2016.
‘Life’ stitches together the good bits of better, previous science fiction movies. It’s pretty generic stuff, but entertaining regardless.
‘Hungry Hearts’ is the kind of story parents tell their children at night when they want them to grow up to become kosher butchers.
Featured review of ‘Manchester by the Sea,’ plus shorter reviews of ‘The Handmaiden,’ ‘The Jungle Book,’ ‘Elle,’ and several more!
‘The Way He Looks’ isn’t very successful as a whole, but it does contain a revelatory, breathtaking performance by its main actor, Ghilherme Lobo.
‘Sand Storm,’ Israel’s most recent entry for the Best Foreign Film Oscar, is an interesting, though slow, peek into the world of modern-day bedouins.
Major reviews of ‘Arrival’ and ‘Billy Lyn’s Long Halftime Walk,’ followed by mini-reviews of a bunch of other 2016 releases.
Reviews of Mel Gibson’s ‘Hacksaw Ridge,’ Howard Hawks’ ‘Sergeant York,’ and a discussion of whether a movie can ever be “anti-war.”
It’s Horror Week! We discuss the classic thrillers ‘Don’t Look Now’ and ‘The Tenant,’ followed by a discussion of directors we’d love to see try horror.
Double-header reviews of two movie accountants: first, Ben Affleck in ‘The Accountant,’ followed by Johnny Depp in ‘Dead Man’
A review of Nate Parker’s controversial ‘The Birth of a Nation,’ followed by review of both versions of ‘Westworld.’
Kenji Mizoguchi’s ‘The Life of Oharu,’ currently streaming on FilmStruck, is an underseen but disappointing venture from the master filmmaker.
A review of the Emily Blunt vehicle ‘The Girl on the Train,’ followed by a discussion of our favorite “comfort movies.”
‘Kong: Skull Island’ is a disappointing Hollywood tentpole—devoid of wonder, suspense, characterisations, or anything else that makes movies enjoyable.
‘Split’ is an effectively creepy horror film; it’s not perfect, but it hits a high for M Night Shyamalan he hasn’t achieved since the early 2000s.
Asghar Farhadi’s ‘The Salesman’—winner of the Oscar as 2016’s Best Foreign Film—is a characteristically complex and exciting film from the Iranian director.
’20th Century Women’ is an interminable slog of thematically muddled scenes, but it does feature some excellent acting from people who aren’t Greta Gerwig.