Logan takes the Wolverine to a darker place.
If there was any reason to suspect that co-writer/director James Mangold was going to deliver just another adventure for the Wolverine (Hugh Jackman) in Logan, he takes approximately two minutes to dispatch such notions.
Get Out offers satirical horror on race in the suburbs.
Get Out plays as a feature-length version of the not-quite-joking sentiment among African Americans that the suburbs—what with their overwhelming whiteness and cultural homogeneity—are eerie twilight zones for black people.
A Cure for Wellness brings operatic craziness sure to irritate audiences.
There's a temptation, for those who write about movies for a living, to anticipate the commercial prospects of movies before they are released. This is usually a fool's errand; anyone who believes they know exactly what will be a hit and what will be a flop should be in a far more lucrative career than film criticism.
Jim Jarmusch's Paterson finds the beauty of art in ordinary places.
At first glance, Paterson (Adam Driver) is an ordinary guy to an extent that's almost a cliché, like the platonic form of Ordinary Guy. He gets up every morning, kisses his wife, Laura (Golshifteh Farahani), and sits down to a breakfast of Cheerios eaten out of a juice glass. He goes to work as a bus driver for the New Jersey Transit Authority, carrying a metal lunchpail. At the end of his day, he comes home, takes the dog for a walk and stops in for a beer at his neighborhood bar.
Outside events cast a long shadow over the 2017 Sundance Film Festival.
Before the 2017 Sundance Film Festival kicked off on Jan. 19, a colleague joked on Twitter that the inauguration of Donald Trump—which occurred on the fest's first full day—would frame every wrap-up piece.
Gold never shakes free from its too-familiar story idea.
There's nothing fancypants here ... just underpants, like a potbellied Matthew McConaughey prancing around in tighty-whities. Fun for the whole family!
20th Century Women offers a compassionate take on generational shifts.
Dorothea, it turns out, is something of a trailblazer herself, a woman who went to flight school for a chance to fight in World War II, and a trained architect.
Silence is a beautiful, complex mix of Good Friday and Easter Sunday.
There's an old story that one of Martin Scorsese's New York University professors said his films contained too much GoodFridayand not enough EasterSunday.
Hidden Figures tells an about-damn-time story of history-making women of color.
Though they were as smart and as educated—and often did much of the same work—they were paid less in money and in respect than their male counterparts (who held titles such as "engineer"). Anything done by black women was, obviously, barely worth mentioning.
Celebrating the best of 2016 in film.
If you're looking for a place to start catching up on some 2016 greatness, I hope this'll do.
Jackie keeps repeating its intriguing ideas about turning people into icons.
It's difficult to imagine a film announcing more spectacularly and efficiently what it's about, before a single word is ever spoken: a disconnect between surface spectacle, and something much darker just beneath that surface.
La La Land celebrates magical, inspirational art.
You either accept that a first flutter of infatuation can cause people to burst into song.
One size of loss does not fit all in Manchester by the Sea.
In all those works, he has poked around not just at how people respond to tragedy, but at how someone else might respond to that same tragedy in a completely different way, or even not take that individual grieving process seriously.
Simple, non-heroic love changes the world in Loving.
On a certain level, though, Loving is about people who find that they have no choice but to insert their lives into something bigger, even when it might seem simpler and easier not to fight.
The Edge of Seventeen overburdens its heroine with too many issues.
But too often it feels like it's trying to be every kind of high-school movie at the same time.