The 2024 Crow is substantially more lore-heavy than Alex Proyas’ 1994 take on the comic, but it’s all so much nothing.
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The Front Room covers what it says on the tin: Old people are gross, weird, and maybe a little evil.
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Outside of showcasing the fun of mushroom trips, My Old Ass announces the arrival of an exciting young star. In a role that brings to mind Emma Stone’s earlier role in the excellent Easy A, Maisy Stella brings the perfect blend of heart and humor to director and writer Megan Park’s (The Fallout) latest film.
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Sleuth is the diabolically entertaining tale of two men engaged in an increasingly high stakes competition of wits, will, and imagination.
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For a movie about supernatural revenge against a cadre of scumbags, The Crow is remarkably sweet-hearted. Combine that sweetness with Lee’s work, solid action, and an impeccable feel, look, and sound, and there’s a reason that Proyas and crew’s picture remains well-loved. Would that it was just one of many pictures in Lee’s filmography rather than a memorial.
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The American version of this type of hero usually involves a man who derives his virtue from rugged, individualist morality, while Riki derives his virtue from popular, collectivist traditionalism.
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Zoë Kravitz’s directorial debut Blink Twice aims to mirror the success of recent social satire thrillers, but is neither smart nor subtle enough to be anything but a total misfire.
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Alien: Romulus is a thin, photocopy of the original, made purely for the sake of Franchise Potential.
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How should movies reflect our morals and values as a society? Or, more pointedly, what function does entertainment serve? This question seems to lie at the heart of the controversy surrounding Colleen Hoover’s enormously popular novel It Ends With Us and its new film adaptation.
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Hit Man is Richard Linklater’s latest movie about the double life of a college professor who wants to live the philosophy he teaches. The story follows Gary (Glen Powell), who moonlights with an undercover law enforcement team that extracts confessions from homicide solicitors. He doesn’t pose as a hitman, though. He’s one of the techs in the van that does whatever a tech-in-a-van does.
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Trap echoes much of M. Night Shyamalan’s filmography—his interest in fatherhood especially—but eschews his traditional “big twist” in favor of a series of escalating, but surprisingly grounded, reveals.
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Watching a Deadpool movie used to feel like catching something during the late-night hours of the Comedy Central lineup—now, that’s been swapped out for a Disney+ version, with the same concept but not quite the same execution.
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Romeo Must Die, starring Aaliyah and Jet Li, is a hilariously specific time capsule of early-aughts action style.
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Greg Kwedar’s Sing Sing quietly insists on vulnerability and empathy as far more valuable healing tools than jailing and confining.
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More than likely you will not walk away with all the answers to Lynch’s films from Lynch/Oz, but there is still something special about asking yourself questions.
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Dial M for Murder is chock-full of the suspense, schemes and shots that make a classic Hitchcock, alongside some choices that perhaps the man himself does not recognize as being bizarrely unique.
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Elizabeth Sankey weaves an intricate tale of female persecution and its relation to postpartum depression, soaked with the tears of her own harrowing experience in a psychiatric hospital after her own breakdown. The documentary works as an expose of her institutionalization intercut with iconic witches throughout film and television history and the confessions of other suffering mothers.
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Fly Me to the Moon knows how to use Channing Tatum’s grace and physical control as a key building block in the construction of NASA Flight Director Cole Davis.
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The circumstances of Annie Baker’s debut film, Janet Planet, are specific: the film centers on Lacy, an 11 year old girl, and her mother Janet, as they while away the summer of 1991 in the woods of Massachusetts.
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Taking advantage of this period of artistic semi-freedom, director Karen Shakhnazarov made Zerograd in 1988, a Kafkaesque satire of life under authoritarian rule that draws attention to the surreal nature of a government actively attempting to resuscitate what was already on its way out.
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