
Together movie review: lockdown love-hate
Fresh, raw, wielding physical and psychological intimacy like a shiv, this is a deeply compelling, empathetic emotional roller coaster fueled by McAvoy’s and Horgan’s intense and cutting performances.

Fresh, raw, wielding physical and psychological intimacy like a shiv, this is a deeply compelling, empathetic emotional roller coaster fueled by McAvoy’s and Horgan’s intense and cutting performances.

Strikingly original horror with a purpose: to delve into the mythologizing of the past, to explore the boundary between cultural appropriation and artistic inspiration, to heed the lessons of history.

A cautionary tale about getting mired in the past is itself hamstrung by what has come before: overplayed noir tropes and underbaked sci-fi ideas. The fab cast at least elevates this to the mediocre.

One of the best documentaries I’ve ever seen. Delightful in its simplicity and profound in its wisdom. Specific yet universal, it’s an empathetic portrait of charming subjects. It’s also really funny.

A very good cast makes a valiant go of it, but a hugely ambitious experimental novel has been boiled down to a tepid mishmash of genres: social-justice drama + black-comedy heist + sci-fi mind-bender.

Messy sci-fi comedy, cheerful on the surface but nihilistic underneath, is utterly clueless about all the things it is almost about: AI, gaming, and the bread-and-circuses power of immersive worlds.

Two brilliant dramas upend cinematic tropes of male vengeance with precision, patience, and grim humor. These are radical rethinks in emotional maturity surrounding men’s grief, remorse, and shame.

Spanks the 2016 film and sends it off to the corner to think about what it did. This one is the definite article: Gory, grim, bleakly funny. Full of feverish, anarchic energy and exhausting cynicism.

Wonderfully escapist, dripping with magnificently congenial charm thanks to the comic chemistry of Dwayne Johnson and Emily Blunt. Plus it’s sure to enrage people who use “woke” as an insult. Yay!

Cynical sequel — you know, for kids! — doubles down on the nihilistic money-grubbing of the original. Thinks that being clever and meta about its own disenchantment will win us over. It does not.