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.
reviews
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.
47 Meters Down movie review: jumping the shark
Originally slated for a VOD release, and it feels like it: the few moments of simple tension quickly dissipate in the murky and not very shark-infested depths.
The Journey movie review: a civil end to war
This fictional dialogue inspired by a private meeting between real-life enemies can’t muster up more than the usual banalities about the ethics of politics and war.
The Wedding Invitation movie review: regrets only
This strained comedy might have been progressive in the 1960s, but today it reeks of an infantilization of women that warrants squashing, not celebrating.
Wonder Woman movie review: women’s work
Everything about this joyful, sincere origin story feels like a retort — a very welcome and much needed one — to traditional male-centered superhero stories.
Dough movie review: it’s a bit too unleavened
Its message of interfaith understanding is an undeniably necessary one; too bad it’s delivered with the obvious broad humor of a sitcom Very Special Episode.
Churchill movie review: stumbling over truth
This low-stakes, emotionally limp portrait may be intended to humanize a towering, almost mythic figure, but instead just needles and undercuts him.
Baywatch movie review: sun’s out, dumb’s out
A beach-slap to anyone with a brain. Embodies everything that is wrong with Hollywood today. It is proudly dumb. It is proudly sexist. It is proudly pointless.
Wakefield movie review: man of the house (emeritus)
An appalling elevation of toxic masculinity to something poignant, radical, and heroic. As unpleasant and as passive-aggressive as its horrid protagonist.
