Regina Hall is glorious in this sharp yet generous portrait of women’s relationships, one smart and witty about how women navigate everyday sexism. Genuinely surprising that it’s by a male filmmaker.
This tonal misfire never hits the notes of drama and romance it aims for with its ickily problematic terrorist-hostage relationships. Facile and uncomfortably implausible, emotionally and practically.
Harrowing and heartbreaking, a nightmare dystopia that could almost be a documentary. This tough but essential film slyly asks us to consider what we owe children, not just our own but the world’s.
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.
Oh hey it’s The Nice Guy’s Complaint done up arthouse style, meant to render male entitlement, unwarranted sexual jealousy, and personal ineffectualness as something deep and meaningful. It’s not.
Welcome to Peak Apologetics for the Bullshit of White Men, replete with many appalling messages about their endless entitlement to redemption and forgiveness. And as a bonus, it’s racist and sexist.
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.
Slice-of-life and stream-of-consciousness, this is unlike any documentary before about what it’s like to be poor and black in America. RaMell Ross is an important new voice in American cinema.
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 without being mindlessly retro; a sweet, heartfelt girl-and-her-alien-robot-car action-adventure buddy dramedy that hits all the right notes. Hailee Steinfeld is terrific, and there’s not a whiff of Michael Bay to be found.