Lola Kirke Wrote a Letter to the Editor Over The New Yorker’s ‘Glib’ Gemini Review
“I am disappointed by Anthony Lane’s glib criticism of my character’s appearance in the film Gemini.”
By Hunter HarrisMovie Reviews
Most Recent Articles
The Man Who Brought You Veep Is Turning His Satirical Gaze to Moscow
Trust Armando Iannucci, who makes profanity into poetry, to find the hidden hilarity in murderous political upheaval.
By Boris KachkaLooking Back at New York’s Critical 1977 Review of Star Wars
“Star Wars will do very nicely for those lucky enough to be children or unlucky enough never to have grown up.”
By Kevin Lincoln and John SimonCritics on Justice League: At Least It’s Not Batman v Superman
At best, it is portrayed as a fun, easy throwaway, and at worst, an incoherent and weak attempt to match Marvel’s Avengers.
By Corinna BurfordBLOGVERTORIAL/SPONSORSHIP AD CODE
Why Mother! Landed on CinemaScore’s List of ‘Fs’
It seems to have one thing in common with the other 18 F-rated films.
By Brittany StephanisWhy Him? Is a Disgustingly Unfunny Piece of Silicon Valley Worship
The question in this movie's title gets a lot of use.
By Andrew LapinPassengers Is an Intriguing Space Romance That’s Sunk by Its Ending
Jennifer Lawrence acts her heart out.
By David EdelsteinYou Don’t Have to See the Future to Know That Solace Is Mind-numbingly Boring
It's often unclear whether the film is spoofing thriller tropes, or playing them straight.
By Tomris LafflyCollateral Beauty Is a Cold and Crass Christmas Carol Remake That’s Exactly As Bad As You’ve Heard
This would-be heart-warmer is as inspirational as a term paper.
By Emily YoshidaIf Michelangelo Antonioni and Shirley Jackson Collaborated on a Torture Porn, It Might Be The Eyes of My Mother
The twisted dream logic keeps the film from becoming a horror cliché.
By Bilge EbiriWarren Beatty’s Rules Don’t Apply Is Uneven, Yet Revealing
What Beatty projects onto Howard Hughes tells us something about how a megalomaniac contemplates the dying of the light.
By David EdelsteinThe Slow, Stunning Intimacy of Loving
Director Jeff Nichols embellishes nothing. With minimal means, he makes the air thick with dread.
By David EdelsteinArrival Is a Tantalizing Sci-Fi Puzzler, Until It’s Highjacked by Melodrama
Amy Adams seems born to be this character.
By David EdelsteinPaul Schrader's Dog Eat Dog Is Garish, Exuberant Pulp
These lovable little men who sees themselves as tender and romantic are psychopaths who’d kill you out of irritation.
By David EdelsteinHacksaw Ridge Is a Massive Achievement for Mel Gibson
Say what you will about Mad Mel, he’s a driven, febrile artist, and there isn’t a second in this war film that doesn’t burn with his peculiar intensity.
By David EdelsteinJack Reacher: Never Go Back Is a Model of Mindless Pulpy Action
The movie is lighter, more fun, and ultimately more satisfying than its weighty predecessor.
By David EdelsteinThe Muddled Elements of The Accountant Somehow Add Up to a Decent Time
When you’re not laughing at it, you’re laughing with it.
By David EdelsteinAnimation Heightens Tower’s Unsettling Story
Stretching the form of documentaries has given us stunning hybrids like Waltz With Bashir, Persepolis, and now, this.
By David EdelsteinThe Girl on the Train Is a Thriller That Doesn’t Know How to Thrill
I got depressed early, when I realized I’d be spending two hours in the hands of people who didn’t know how to tell a story.
By David EdelsteinAva DuVernay’s 13th Is an Essential, If Imperfect, Look at Race Relations and Incarceration
The movie is frankly exhausting, with too much information (and too many brilliant interviewees) to do justice to here. You simply need to see it.
By David Edelstein