
Victoria & Abdul movie review: one of her best friends was brown
Charming based-on-fact British costume dramedy gently snarks about power and propriety but cuts a lot deeper when it comes to bigotry and bootlicking.

Charming based-on-fact British costume dramedy gently snarks about power and propriety but cuts a lot deeper when it comes to bigotry and bootlicking.

Behold a modern-day feminist western set in deeply patriarchal Pakistan. Stark and spare, with a heroine full of mean grace, it’s even a true story.

Darren Aronofsky’s self-pitying cinematic rending of garments is repulsive, transparent, and pointless. A grotesquely wrapped gift box of utter banality.

The Goonies, Stand by Me, and Poltergeist went into a blender with a pinch of E.T. and John Hughes to smush into a mess of retro 80s mush.

Psychologically risible and paranormally inconsistent heist horror gives us not a single character to like or root for, or even to cheer dying.

Bitter, snide, and ultimately brutal, exactly the movie about social media we deserve; a satire that is barely satirical. Aubrey Plaza is hashtag savage.

Lush sensationalism and Dickensian social justice collide in 1880s London, and if there isn’t quite enough of either, it’s still a slice of satisfying gothic horror.

A wonderful portrait of life in a harsh, lonely place, and of romance as a prompt for personal growth and changing traditions. Raises the bar for British indies.

Tense, gripping, enraging, but only about things that black Americans already know. This is a primer about racism for white people, and we must pay attention.

An action masterpiece newly remastered in gorgeous 4K (and rejiggered for superfluous 3D) reveals how fresh it remains not only technically but thematically.