Taking Stock of “The Human Surge”

Eduardo Williams’s latest film reads like Linklater’s “Slacker” for the global post-Internet age.

Prequel Opportunities: “Rogue One: A Star Wars Story” Pits Diversity Against Adversity

Gareth Edwards’s first crack at the series goes against type.

A Little Bit of Everything: “The Handmaiden” Offers Gothic Romance, Horror, Comedy, and More

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

Sweet Christmas! “Luke Cage” Is Perfect

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

The Opposite of Death and Diarrhea: On Pamela Adlon’s “Better Things”

On a network overflowing with jaded takes on everyday life, “Better Things” stands out as a show that’s serious about its laughs.

“Basic Witch”: Just in Time for Pumpkin Spice Season, a Perfectly Acceptable “Blair Witch Project” Sequel

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

High Maintenance: A Buzz Worth Maintaining

HBO’s new comedy series wandered into pay cable from the dank world of Vimeo.

Timber: “Into the Forest” Fails to Do Enough with Its Strong Premise

The pair of female protagonists at the center of this apocalypse thriller provide the only wrinkle in an otherwise rote genre film.

Suicide Squat: DC Takes Another Dump

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

Resistance Is Futile, Again: On “Anthropoid”

Sean Ellis’s WWII drama tells the story of how the Czech resistance managed to assassinate Nazi general Reinhard Heydrich (a.k.a. “The Butcher of Prague”) and shows what they suffered as a result—but it fails to answer the question of why this story matters.

The “Ghostbusters” Reboot Has Spirit (And a Bit of Slime, Too)

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

Le Retour: “Microbe and Gasoline” is Michel Gondry’s Best in Years

The once (and future?) visionary director returns with this strongest flick since 2008’s “Be Kind Rewind.”

Draw: “The Duel” Asks Heavy Questions, Offers Light Answers

Kieran Darcy-Smith ably connects the dilemmas of the present with the hewing of the western frontier. His resolution leaves something to be desired.

Needs More Cowbell: On The Lonely Island’s “Popstar: Never Stop Never Stopping”

First, a bit of context: I’m confident that I could watch eighty-six minutes of Lonely Island digital shorts and feel pretty good about myself afterward….

“The Nice Guys”: A Crowe and a Gosling Walk into a Bar

While it searches for its heart, the banter and beatings give Shane Black’s action-comedy its wings.

Slow Boil: “The Lobster” Starts Strong but Fails to Turn Up the Heat

Yorgos Lanthimos’s fifth feature doesn’t know what to do with its great premise.

The House that Marvel Built: “Captain America: Civil War” has a Solid Foundation

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

’Nu Kids on the Block: Key and Peele Make Their Silver Screen Debut with “Keanu”

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

The Taste of Death: Jeremy Saulnier’s “Green Room”

Even a slaughterhouse has its rules. But is that enough?

“Everybody Wants Some” Freedom, Everybody Gets Some Responsibility

Richard Linklater comes home again.

Close Enough for Jazz: Ethan Hawke Channels Chet Baker in “Born to Be Blue”

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

“Midnight Special” Takes Highway to Heaven, Highway to Hell

Jeff Nichols’ latest film gamely shifts across genres without signaling.

Occult Classic: Robert Eggers’ “The Witch”

The winner of the Director’s Award at last year’s Sundance burns slowly—and brightly.

Life Gets Lovely and Messy in Judd Apatow’s “Love”

Netflix’s non-romantic rom-com finds love on its own terms.

The Dream of the ’90s is Not Alive in “Deadpool”

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

Happily Ever After: “Hail, Caesar!” Is a Silver Screen Daydream

The Coen Brothers’ seventeenth film is a delightful appreciation of old Hollywood.

OK, Great: Duke Johnson and Charlie Kaufman’s “Anomalisa”

Kaufman’s puppet-play allows us to find grace in the despair of everyday life.

“The Revenant”: Actions Speak Louder Than Words

“As long as you can still grab a breath, you fight.”


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