film criticism by maryann johanson | 25 years: 1997–2022
Beautiful in its style, enraging in its substance, this skewering of the FBI’s surveillance of the civil-rights icon is essential for understanding the near-term roots of white supremacy in America.
French New Wave icon Jean Seberg plays an unwitting game of cat-and-mouse with the FBI in a strangled blend of biopic and paranoid thriller. Not even always fascinating Kristen Stewart can save this.
Cluelessly simplistic rendering of a 1990s media injustice ignores all the context in which it happened and demonizes the one journalist who acted professionally. Fails even as a conservative screed.
A sad retread of The Fugitive. Dumb, pointless, confused, full of contempt for its audience, and laughably unable to convince us that Gerard Butler is an acceptable stand-in for Harrison Ford.
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.
Embarrassingly bad CGI; pratfalls; genital humor; denigration of cat ladies; horrible clichés and stereotypes. This is the cinematic equivalent of stepping in dog poop. You know, for kids!
Bold, tough, hugely entertaining. Like a new GoodFellas, except about a woman caught up in her own impudence and daring. Jessica Chastain is badass.
Style and humor galore, and a hugely entertaining performance from Tom Cruise. But should a true story of immense governmental corruption be quite this fun?
Fun enough and diverting enough while you’re in the middle of it, but hints of something much richer and more satisfying dangle just out of its reach.
Bland, tasteless entertainmentstuff intended to neither move nor offend, and succeeds as such. A sad pile of unfunny nothing that falls painfully flat.
