Reviews
‘Flamin’ Hot’ Review
Eva Longoria's narrative directorial debut breezily tells a debunked story of Mexican-American ingenuity, and misses an opportunity in the process.
‘The Son’ Review
Florian Zeller's follow-up to his Oscar-winning "The Father" lacks the finesse, empathy and gusto of his debut.
‘Crimes of the Future’ Review
Viggo Mortensen and Léa Seydoux dig into themselves – literally – and search for meaning along the edge of humanity's next chapter.
‘Top Gun: Maverick’ Review
Miles Teller joins Cruise for a surprisingly, and against all odds, tender tale about parents and sons, reaching for the stars, and supersonic daredevilry.
‘Nightmare Alley’ Review
Bradley Cooper plays a slippery schemer in del Toro's latest blood-tipped fantasia, and he’s joined by several other A-listers.
‘Settlers’ Review
Wyatt Rockefeller's meditative Mars-set drama works best when it keeps its scope small, its focus tight.
‘Roadrunner: A Film About Anthony Bourdain’ Review
Like its subject, Morgan Neville's new documentary reveals itself to be a bit of a contradiction.
‘The Killing of Two Lovers’ Review
Propelled by engaging performances and refined craft, Robert Machoian’s newest movie recalculates a familiar kind of marriage-on-the-rocks story into an incredibly tense tale.
‘Voyagers’ Review
The director of "Limitless" and "Divergent" returns with a space-set riff on "Lord of the Flies" that does little to justify its cosmic surroundings.
‘No Man’s Land’ Review
Jackson Greer is both a fish out of water and a man out of time in Conor Allyn’s contemporary Western “No Man’s Land,” although you wouldn’t know it by the way Jake Allyn’s handsome Texas rancher reckons with having killed a migrant boy in the heat of confrontation by cheerily swigging beers at a Mexico bar. This is a movie of inelegant craft, five-cent metaphors and stilted convictions, though its most self-defeating attribute is how it cheats itself into having a short memory.
‘The Reason I Jump’ Review
Tell someone that the documentary they’re about to watch is an education on the experiences of those diagnosed with autism, and their expectation may be a movie of convention—of clearly defined talking head subjects and a rigid structure that more effectively snoozes rather than informs.
Not so in the case of director Jerry Rothwell’s captivating and occasionally cosmic new effort “The Reason I Jump.”