The Midwife (Sage femme) movie review: the birth pangs of midlife renewal
The chemistry of two formidable actresses fuels an extraordinary yet subtle clash in a nuanced, unsentimental story about how women’s friendships shape our lives.
The Last Word movie review: wealthy white privilege, unchecked
Cantankerous old grump teaches directionless young people about life… in a way that is totally obnoxious and not in the least bit convincing.
Spider-Man: Homecoming movie review: boys and their alien toys
Thoroughly charming. Spider-Man’s signature light comedy works surprisingly well even as this story is uniquely steeped in the darker Marvel Cinematic Universe.
Baby Driver movie review: common car-nage
Edgar Wright used to send up cinematic clichés with gusto and with huge humor. Here he just embraces them — and his sullen, unengaging hero — unironically.
The House movie review: burn it down
The hint of a seed of a bitter satire is buried under inept, momentum-free comedy. They should have developed the script’s rough first draft instead of shooting it.
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.
curated: everything that’s wrong with Hollywood today.
This is ridiculous.
Megan Leavey (aka Rex) movie review: a soldier and her dog
This deeply satisfying military drama demonstrates that a simple, even familiar story can be powerfully effective when told with big heart and solid craft.
The Bad Batch movie review: a girl walks into dystopia alone
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.
Lost in Paris (Paris pieds nus) movie review: French kicks
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.
