FLOOD

But don’t expect it to abandon the Marvel formula.

The “Stoker” director returns with a complex, compelling (and carnal) genre tour.

Netflix’s latest foray into the Marvel Cinematic Universe is a high point for both the streaming service and the MCU as a whole.

Simon Barrett and Adam Wingard’s sequel does right by the 1999 original, but doesn’t go much farther.

“Suicide Squad”‘s casting and budget can’t make up for a lack of story and emotional depth.

The issue of treading on hallowed ground aside, Paul Feig’s latest delivers exactly what it promises.

It’s not a Cap vs. Iron Man world after all.

The first film offering from one of the best comedic duos of the past decade is a victim of its own format.

Richard Linklater comes home again.

Robert Budreau’s biopic is a love story of a different kind.

Director Tim Miller grounds dated violence and lowbrow humor in a thoroughly modern world.

Adam McKay lightens dense subject matter with his comedic sensibilities.

The screenwriter biopic continues the grand tradition of Tinseltown tooting its own horn but ditches the self-importance.

Mendes and Craig phone in the “Skyfall” follow-up.

Guillermo del Toro’s gothic haunted house flick is more dead than alive.

Denis Villeneuve’s attempt to stay neutral hurts an otherwise great film.

“The Visit” is M. Night Shyamalan’s best film in fifteen years.

Guy Ritchie’s adaptation of 1960s television show “The Man from U.N.C.L.E.” falls flat.

“The End of the Tour” honors David Foster Wallace by making him feel like a real person.

Low on action and high on exposition, Marvel’s Ant-Man is pretty much the antithesis of Avengers: Age of Ultron; tone-wise,…