
The Beguiled movie review: horror of manners
If Jane Austen wrote a horror movie. An almost serene sinisterness infuses female-gazey carnal intrigue… but it could be even more feminist than it is.

If Jane Austen wrote a horror movie. An almost serene sinisterness infuses female-gazey carnal intrigue… but it could be even more feminist than it is.
This is ridiculous.

This deeply satisfying military drama demonstrates that a simple, even familiar story can be powerfully effective when told with big heart and solid craft.

Filmmaker-to-watch Ana Lily Amirpour again shakes up a familiar genre — here, the postapocalyptic adventure — in unexpected ways, but stumbles a bit in the process.

An exquisite miniature puzzle-box pop-up-book of a movie. All is color and light and exhilaration here, a fantastical lark that is sheer mischievous joy.

Originally slated for a VOD release, and it feels like it: the few moments of simple tension quickly dissipate in the murky and not very shark-infested depths.

This fictional dialogue inspired by a private meeting between real-life enemies can’t muster up more than the usual banalities about the ethics of politics and war.

This strained comedy might have been progressive in the 1960s, but today it reeks of an infantilization of women that warrants squashing, not celebrating.

Everything about this joyful, sincere origin story feels like a retort — a very welcome and much needed one — to traditional male-centered superhero stories.

Its message of interfaith understanding is an undeniably necessary one; too bad it’s delivered with the obvious broad humor of a sitcom Very Special Episode.