Emily the Criminal
Emily the Criminal is a sharp, human descent-into-crime story elevated by Aubrey Plaza at her most committed. Imperfect but essential viewing.
Emily the Criminal is a sharp, human descent-into-crime story elevated by Aubrey Plaza at her most committed. Imperfect but essential viewing.
Baz Luhrmann's Elvis is a maximalist, brilliant, occasionally overwhelming tribute that frames its subject as the American myth he became.
Cha Cha Real Smooth is a well-funded entry in a genre that already has better versions of itself. Cooper Raiff's charm only goes so far.
Sam Raimi's Doctor Strange sequel is a grounded horror film about grief dressed in Marvel spectacle, and it's one of Phase Four's best.
Downfall: The Case Against Boeing is a clear, damning, and essential documentary about what happens when corporate interests override passenger safety.
Don't Look Up is Adam McKay's most pessimistic film and one of his most precise. A deeply cynical comedy that lands harder than it should.
The Eternals is the boldest swing Marvel Studios has taken in years, it's an intimate, visually stunning epic that rewards patience.
Last Night in Soho is visually stunning, but Edgar Wright's thriller can't hide its weak script and telegraphed twists.
Ridley Scott's The Last Duel is a sharp, topical character study disguised as a medieval epic. One of the most underrated films of his career.
Denis Villeneuve's Dune is the most credible argument yet that Herbert's novel is filmable. It is a patient and visually stunning sci-fi epic.
Toy Story 4 is funny, gorgeous, and reaches for greatness, but a sidelined cast and a cagey timeline hold it just short of perfect.
Fast Color is low-budget sci-fi at its absolute best, anchored by a powerhouse Gugu Mbatha-Raw performance.