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A beautiful story about ugliness, about dignity in the face of hatred, told via delicate yet steely performances that imbue it with a power at once tender and infuriating. Totally enrapturing.
Overlong and underwritten, tepid and dreary, this would-be sexual melodrama isn’t lurid enough to qualify as soft-core porn, but never finds any true emotion among its triangle of lovers, either.
Nicole Kidman’s pitiless performance completely upends genre expectations in Karyn Kusama’s tense, grim crime noir. Uncompromising and subtly challenging, like a cerebral itch you can’t quite scratch.
Coasts on the awesomeness of Ruth Bader Ginsburg in a way unadventurous if solidly crowd-pleasing. But the depiction of her incredibly supportive marriage to a feminist man is intensely satisfying.
Nostalgic yet not mindlessly retro, a heartfelt girl-and-her-alien-robot-car action-adventure dramedy that hits all the right notes. Hailee Steinfeld is terrific, and there’s nary a whiff of Michael Bay.
Saoirse Ronan and Margot Robbie command the screen in this delicious anti costume drama with an earthy ethos, replete with movie-movie internecine spycraft and a sly, smart feminist parable that resonates for us today.
A lovely movie that warmly embraces a wide(ish) range of girls-and-women-as-people, one that doesn’t reduce its large heroine — the amazing Danielle Macdonald — to nothing more than her size. This should not feel so damn radical, but it is.
A zombie musical comedy set at Christmas should be a can’t-miss. But this one isn’t scary or funny; its characters are one-note, and the whole shebang — blah songs included — is emotionally flat.
Kurt Russell’s hot biker Santa is naughty and nice, but this otherwise discount holiday schmaltz is only half onboard with him.
A raw and uneasy film about tortured celebrity — mid-20th-century European film star Romy Schneider — and the endless female struggle to break free of the small boxes our culture tries to confine us to.
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