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A heist movie that is gripping and badass, elegant and assured. You could ignore all the social-justice-warrior stuff and just enjoy this as a popcorn thriller. But what makes this so special is how it reexamines the genre’s clichés.
In his latest righteous broadside, Michael Moore takes on Donald Trump as but a symptom of the political rot in the United States. Upsetting, enraging, exhausting… which is just as it should be.
A self-indulgent, faux-woke mashup of noir crime, black comedy, and Tarantino-esque ultraviolence. Some great performances, including a spectacular feature debut from Cynthia Erivo; shame they’re so wasted.
Witty, tense, and thrilling, but also cheerful, escapist, and fun, this is a perfect cinematic cozy mystery, kept on an even keel by the irresistibly charming Anna Kendrick. Merrily absurd pure entertainment.
With smarts, warmth, and humanity, this mystery that unfurls entirely on computer screens becomes an ode to the new digital lives we are all leading, from how we use our devices to what they say about us.
Ugly, sordid, and proud of it, with less than no justification. “Meet the Feebles meets Who Framed Roger Rabbit” conveys a far greater sense of dignity, cohesion, and purpose than this witness movie deserves.
A cruel film that hopes to use its fantastical surreality to find some sort of redemption in the senseless, violent, and real-life abuse of a child. There is no magic here, and no meaning.
The superhero movie we need, and also the one we karmically deserve. A riot of hilariously zippy animation that gleefully shreds the clichés of the genre while also lovingly embracing its self-referential geek experience.
Gloomy, authentic, essential: this auspicious feature debut from writer-director Jenny Lu is an anti–fairy tale of forgotten women and the false promises of end-stage capitalism.
This shrewd sci-fi horror franchise is as sharp as ever as it reaches yet further down into the unpleasant flipside of the American myth. A rare prequel that doesn’t feel superfluous.
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