The “Marty Supreme” question that got old in about five minutes — was the title character likable enough? —shouldn’t even be allowed in the same room with Rose Byrne. From the annoyingly...
If you see one spicy depraved satirical thriller this year that’s a cross between “Mean Girls” and “The Craft” and something far darker, by all means make that movie “Forbidden Fruits.”...
In the best of all worlds, the Oscars are exciting: fun and suspenseful, moving and meaningful. At their most supreme, they leave you with the feeling that movies matter. In the...
SXSW may be the only film festival where the quintessential movies that play there aren’t just defining — they’re practically a genre. Here are some of the qualities of what has...
“Ready or Not,” the 2019 horror-comedy hit that turned “The Most Dangerous Game” into an aristocratic Victorian funhouse slasher movie, was nothing more (or less) than a well-executed piece of ultraviolent...
“I Love Boosters” has a flaky, what-the-hell-let’s-do-this effrontery. It’s the first movie Boots Riley has written and directed since his debut feature, “Sorry to Bother You,” which made a subversive splash...
The original title of “Heel” was “Good Boy.” The new title is probably more accurate, though an even more accurate title might be “Painfully Annoying Punk Idiot.” I jest (a bit),...
The movies we call faith-based often take the form of disaster porn. It only makes sense. These movies, framed as tests of faith, are built around a literalization of the spirit...
