Two years ago, when Martin Scorsese called the Marvel Cinematic Universe something akin to a theme park, the comic book community—both its filmmakers and fans—...
Throughout King Richard, I kept waiting for a flashback. The thing about biopics is that even the good ones tend to be overstuffed, bogged down by an incessant...
There’s not much exposition in Hit the Road. In fact it takes most of Panah Panahi’s remarkable directorial debut, about a family traveling across northwestern...
The first image in Joel Coen’s The Tragedy of Macbeth is of three ravens hovering through foggy and filthy air. Their altitude suggests the camera craning its ...
Is it possible to stand out and disappear at the same time? Matt Damon makes a convincing case study in Stillwater. As roughneck Bill Baker, he wears the signi...
It seems strange to call a Zack Snyder movie nostalgic. Over the last decade the director has spent all his energy operating within the superhero industrial co...
Sundance 2021 has been filled with so many movies about—and made in—the current pandemic that a 19th-century, gory genre flick feels like a return to normalcy....
Out of the 30-some diverse subjects that make up Searchers, a documentary about New Yorkers navigating online dating, Robert, 75, and Arthur, 78, are the most ...
Sometimes, a movie feels like it’s on the verge of something. Maybe it’s an explosion or an argument or a big decision, but it just doesn’t quite get there. To...
This year, because Sundance is a virtual festival operating in the midst of the coronavirus, there’s a tendency to label any depiction of isolation and mass hy...
