Welcome to the Category Archive for Reviews

• Review: 'Evil Dead Burn' Wants To Drag You To Hell
• Review: 'Night Nurse' Is Deliciousness For Sickos
• 'The Invite' Review: Olivia Wilde's Takes on the Latest Adaptation of This Raunchy Play
• Review: The Diary Of A Teenage Actress, 'Act One' Embraces Its Darkness
• Review: 'Breeder' Brings All the Cuck-Boys To Its Yard
• Review: The Snowy Death of Love in 'Labrador: Autopsy of Silence'
• Review: Spielberg's Fascinating, Strange & Exciting 'Disclosure Day'
• Review: 'Mineshaft: The Cruising Murders' Blows Up the History Of William Friedkin's Leather Flop
• Review: 'Ponderosa' Starring Bill Camp & Jack Dylan Grazer
• Review: 'Leviticus' Is An Immediate Queer Horror Classic
• 'Scary Movie' Is Late to its Own Party
• 'Pressure' Answers The Question, What If 'Oppenheimer' Was Fun-Sized?
• Need an Escape? Watch 'Rivals'
• Review: 'Obsession' Ain't Half the Horror Movie It Thinks It Is
• The Comeback Season 3 Finale: Well, There's No Coming Back From That
• Jessica Rothe Anchors the Twisty 'Affection'
• Review: 'Hokum' Sweet 'Hokum''s Gonna Gleefully Drag Us Straight To Hell
• I Want to Live in 'Mother Mary's Beautiful Nightmare
• Timothée Chalamet Reigns in the Ping-Pong Opera 'Marty Supreme'
• Charlize Theron & Taron Egerton Class Up Old-School Action Thriller 'Apex'
• Mads Mikkelsen Lights Up Bryan Fuller's Cult-Classic-To-Be 'Dust Bunny'
• Review: 'Faces of Death' Starring Barbie Fierrera
• Zendaya & Robert Pattinson Wring What Little Life They Can From 'The Drama'
• Review: '28 Years Later: The Bone Temple' Is the Best Film in the Franchise
• 'The Comeback' is... Back
• 'Ready or Not 2: Here I Come' is Unnecessary, But That's Not Entirely Bad
• Review: 'The Lady' Tries to Combine Royal Drama and True Crime But Quickly Runs Out of Steam
• Review: 'Peaky Blinders: The Immortal Man' Gives Bittersweet Closure
• Review: Jessie Buckley Makes an Exquisite Corpse Out of 'The Bride!'
• 'Scream 7' Review: Is a Hollow and Toothless Naval Gaze at an Iconic Final Girl
• Review: 'Filipiñana' Hides Its Savage Class Satire Under A Beautiful Sea of Green
• Review: Margot Robbie & Jacob Elordi Are Beautiful Monsters in This Savage "Wuthering Heights"
• Review: Everybody Wants to Play With Domhnall Gleeson in 'The Incomer'
• Review: 'Pillion' is a Prince Albert Piercing Through the Heart
• Review: Channing Tatum & Gemma Chan Play Parents In The Woefully Flat-Footed 'Josephine'
• Charli XCX's 'The Moment': the Pop Star Kills Brat Summer Her Way
• Review: 'Natchez' Skewers Plantation Pageantry and the Lost Cause Myth
• Review: Dwayne Johnson's Oscar-Bait 'The Smashing Machine'
• Review: Park Chan-wook's 'No Other Choice' Starring Lee Byung-hun
• Review: 'The Testament of Ann Lee' Starring Amanda Seyfried and Lewis Pullman
• Review: Family Sure is a Funny Thing in Jim Jarmusch's 'Father Mother Sister Brother'
• Review: 'Hamnet' Starring Paul Mescal and Jessie Buckley
• Review: 'Knives Out' Takes on a Locked Room Mystery in 'Wake Up Dead Man'
• Review: Alia Shawkat & Callum Turner Make the Sweet-Edged War Satire 'Atropia' Worth the Visit
• Review: 'Griffin In Summer' Is Brutally Funny Theater Kid Coming-Of-Age Brilliance
• Review: 'Five Nights at Freddy's 2' with Josh Hutcherson
• Review: Darren Aronofsky Sorta Gets His Groove Back with 'Caught Stealing'
• Review: 'Wicked: For Good' Has Not Changed for the Better
• Review: Is 'Ambulance' Good or Do We Just Miss the Bayhem?
• Netflix's Review: 'Train Dreams,' Starring Joel Edgerton, Felicity Jones
• Review: Brendan Fraser's Sweet, Earnest 'Rental Family'
• Review: 'Materialists' Starring Dakota Johnson, Pedro Pascal
• Review: 'After the Hunt' Starring Julia Roberts
• Review: We're All in the Haunted Dog House With 'Good Boy'
• Review: 'Christy,' Starring Sydney Sweeney and Katy O'Brian
• Review: Guillermo Del Toro's Indulgent 'Frankenstein'
• Review: Nia DaCosta's Spin on 'Hedda' Is Sexy & Messy
• Review: 'Bugonia,' Starring Emma Stone and Jesse Plemons
• Review: 'Regretting You' Adapts Colleen Hoover as ... an AMC Theatres Ad?
• Review: 'The Hand That Rocks the Cradle' Is Another Pointless Nostalgia Remake
• Review: Radu Jude's 'Kontinental '25' and 'Dracula'
• Review: 'Black Phone 2': Ethan Hawke Is Back as The Grabber
• Review: 'Peter Hujar's Day' Starring Ben Whishaw & Rebecca Hall
• Review: 'The Strangers: Chapter 2' Starring Madelaine Petsch
• Review: Paul Thomas Anderson's Political Masterpiece 'One Battle After Another'
• Review: 'A Big, Bold, Beautiful Journey' Takes a Pratfall into Cinematic Purgatory
• Review: In 'Hen,' a Chicken Just Wants To Be Left Alone But Humans Are a Nightmare
• Review: Tom Blyth and Russell Tovey Shatter '90s Nostalgia in 'Plainclothes'
• Review: 'Steve' Starring Cillian Murphy and Tracey Ullman
• Review: 'Scarlet' Is a Visually Stunning Anime Retelling of Hamlet
• Review: 'Exit 8' Is Liminal Videogame Horror at its Best
• Review: Colin Farrell in 'Ballad of a Small Player'
• Review: Lucrecia Martel's Documentary 'Nuestra Tierra'
• Review: Byun Sung-hyun's South Korean Comedy 'Good News'
• Review: 'The History of Sound' with Paul Mescal and Josh O'Connor
• 'Highest 2 Lowest' Review: Does Spike Lee Have the Worst Ear in the Business?
• Review: Dev Patel's Unsettling Folk Horror 'Rabbit Trap'
• Review: 'Downton Abbey: The Grand Finale'
• Review: Gus Van Sant's 'Dead Man's Wire' Starring Bill Skarsgard
• Review: 'Franz' Starring Idan Weiss
• Review: 'The Wizard of the Kremlin' Starring Paul Dano and Jude Law
• Review: 'The Secret Agent' with Wagner Moura and Tânia Maria
• Review: Joachim Trier's 'Sentimental Value' Starring Renate Reinsve
• Review: Season Two of 'With Love, Meghan' Struggles to Find an Identity
• Review: 'The Toxic Avenger,' Starring Peter Dinklage and Kevin Bacon
• 'Eden' Review: Ron Howard ... Why?
• Review: Greg Daniels' 'Upload,' Starring Robbie Amell and Andy Allo
• Review: Let the Wonderful Weirdness of 'Boys Go To Jupiter' Wash Over You
• James Ellroy, Bret Easton Ellis, Sarah Vowell: Pajiba Summer 2025 Book Recommendations Superpost
• Review: 'Weapons' Is Fun and Deliciously Disgusting
• Review: You'll Never Escape 'Buffet Infinity'an Expirimental Hellscape of Sandwich Shop Apocalypse
• Review: Spanish Horror 'The Wailing' Is the Scary Movie You've Been Waiting For
• Review: 'The Naked Gun,' Starring Liam Neeson and Pamela Anderson
• Review: 'Together,' Starring Alison Brie and Dave Franco
• Review: 'Until Dawn' Is More Like Video Game Than You Think
• Review: Jermaine Fowler Makes for a Mean Green Mega-Star Weirdo in the Totally Unexpected 'Terrestrial'
• Review: 'I Know What You Did Last Summer' (2025), Starring Madelyn Cline
• Review: Ari Aster's 'Eddington' Starring Pedro Pascal and Joaquin Phoenix
• Review: 'Jurassic World: Rebirth,' Starring Scarlett Johansson & Jonathan Bailey
• Review: 'M3GAN 2.0' Starring Allison Williams
• Review: '28 Years Later' Starring Aaron Taylor-Johnson and Jodie Comer
• Review: 'What Marielle Knows' Starring Julia Jentsch, Laeni Geiseler
• Review: 'After This Death' Starring Lee Pace as an Erotic Rock God
• Review: 'Dragonfly,' Starring Andrea Riseborough and Brenda Blethyn
• 25 Years Later: How Does Kevin Smith's 'Dogma' Hold Up Now That It's in 4K?
• Review: 'Dangerous Animals' Starring Jai Courtney
• Review: 'The Phoenician Scheme' Starring Benicio Del Toro and Mia Threapleton
• Review: 'Bring Her Back,' Starring Sally Hawkins, Billy Barratt
• 'Pee-wee as Himself' Doc is One Final Glorious Gift From Paul Reubens
• Review: 'Mission: Impossible - The Final Reckoning' Starring Tom Cruise, Hayley Atwell
• The Weeknd's 'Hurry Up Tomorrow' Is a Cinematic Personality Crisis
• Review: There Is No Excuse for 'Final Destination Bloodlines'
• Review: Netflix's 'Untold: The Liver King' Is So Gross, So Stupid, and So Revealing
• 'Fight or Flight' Review: A Maniacal Josh Hartnett Wielding a Weapon Saves Another One
• 'Heart Eyes' Is a Killer Box of Chocolates; You Never Know What You're Gonna Get
• Review: 'Another Simple Favor' Is Simply Another Sequel Here For a Good Time, Not a Long Time
• Jacob Elordi and Daisy Edgar-Jones Stall in the Stiff Queer Drama 'On Swift Horses'
• 'You' Season Five Review: Is This the End of Joe Goldberg?
• Notes on 'The Studio' From an Actual Hollywood Assistant
• 'The Rehearsal' Season 2 Review: Nathan Fielder Is a Mad Genius
• 'The Wedding Banquet' Is the Glorious Gay Feast Right Now's Been Begging For
• 'G20' Review: Viola Davis Has Entered Her Gerard Butler Era
• 'Drop' Review: Chris Landon Makes the Most Out of This Throwback Thriller
• Review: Alex Garland's 'Warfare' Wants the Horror of War Without the Politics of It
• 'Hell of a Summer' Review: Finn Wolfhard and Billy Bryk Made a Boring Slasher Comedy
• Review: 'The Woman in the Yard' Fails on a Lot of Levels
• Daniel Craig Gives Love a 'Queer' Name In Luca Guadagnino's New Classic
• Review: John Lithgow Torments the Elderly in 'The Rule of Jenny Pen'
• Review: 'Death of a Unicorn' Review: The Unicorns Bite, The Satire Does Not
• Gal Gadot Is a Mess In a Class Of Its Own in Disney's 'Snow White' Remake
• Review: Sit Back and Let 'Ash' Wash Over You
• 'Ne Zha 2' is the Highest-Grossing Animated Film of All-Time. Is It Any Good?
• Review: 'The Alto Knights' Starring Robert DeNiro and Debra Messing
• 'Anora': A Fairytale Only Sean Baker Could Tell
• Michael Fassbender & Cate Blanchett's 'Black Bag' Is Foreplay, Tease, and Fetish
• Review: 'Kraven The Hunter' Puts the Sony Spider-Man Universe out of Its Misery
• Review: Sweet Sticky 'Strange Darling' Is Rom-Com For Psychopaths
• 'The Monkey' Review: The Guy Behind the Most Somber Horrors Made a Wacky, Bloody Midnighter
• Robert Eggers' 'Nosferatu' Is a Dark and Delicious Feast
• 'Paddington in Peru' Is A Heartfelt Adventure in Search of Home
• Apple TV+'s 'The Gorge' Is a Chemistry-Free Unbearable Genre Mashup
• 'All That's Left of You' Looks at A Family's Journey in the Palestinian-Israeli Conflict
• 'Sorry, Baby' Is A Profound Journey of Healing and Resilience
• Review: 'Omaha' Is A Heartbreaking Portrait of Love and Sacrifice Amid Poverty
• Review: 'By Design' Is A Quirky Exploration of Objectification, Envy, and the Cost of Perfection
• Review: A Double Dose of Dylan O'Brien In 'Twinless,' Tasty Cringe Farce For Sickos
• Review: Be The Best Celebrity Stalker You Can Be, By 'Lurker'
• Review: 'Companion' Is a Hate-Mail Valentine to Mediocre Tech Bro Losers
• Review: Save The Puppy Save The World With Albert Birney's Lo-Fi Fantastical 'OBEX'
• Review: Home Is Where The Surreal Vampire Puppet Horror Is In 'The Vourdalak'
• Review: Is Michelle Yeoh's 'Star Trek: Section 31' Worth Watching?
• Review: Get Ghosted By Steven Soderbergh's 'Presence'
• 'Unstoppable' Review: The Fearless Anthony Robles Deserves a Braver Film
• Review: Sebastian Stan Presses the New Flesh In the Fantastic 'A Different Man'
• Pick Yourself the Pink Punk Dystopia of 'La Pietà'
• 'Wolf Man' Review: Woof
• 'Don't Die' Review: How Bryan Johnson Became the Real-Life Elisabeth Sparkle
• 'The Last Showgirl' Is a Stunning Showcase for Pamela Anderson
• Gay Sex, Red Pills, and Video Games Are the Sweet Stuff of 'Eat the Night'
• Review: Mike Leigh And Marianne Jean-Baptiste Deliver Hard-Hitting 'Hard Truths'
• Barry Keoghan & Franz Rogowski Make Magic In Andrea Arnold's 'Bird'
• 'Wallace and Gromit' Are As Charming and Delightful As Ever In 'Vengeance Most Fowl'
• Gavin and Stacey, Britain's Most Beloved Comedy of the 2000s, Came to An End After 17 Years
• Nicole Kidman Discovers Lust in the Excellent and Surprising 'Babygirl'
• Review: 'The Brutalist' Proves Size Does Matter
• 'September 5' Is a Heart-Pounding Love Letter to Journalist
• Netflix's 'Carry-On' Fills This Year's Christmas Action Movie Void
• Review: It's a Shame 'Joker: Folie a Deux' is So Dull
• 'Maria' Brings the Soprano's Story to Life as a Greek Tragedy
• Tilda Swinton and Michael Shannon Sing Us A Song Of Armageddon in 'The End'
• Review: 'Speak No Evil' 2024 Is Toxic Masculinity 101
• 'Beetlejuice Beetlejuice' Is a Straight-Up Goofball Paradise
• Amy Adams Goes Feral in 'Nightbitch'
• 'Skeleton Crew' Is An Insult to Kids and 'Star Wars'
• Review: 'Moana 2' Isn't Very Good But That Hardly Matters to Disney
• Review: In 'Small Things Like These,' Cillian Murphy Crafts a Compelling Portrait of a Good Man in Crisis
• There's No Way 'Wicked Part II' Will Be Better Than 'Wicked Part I'
• Those 'Bad Sisters' Find Themselves in Even Deeper Hot Water in Season Two
• Review: 'Twisters' Needs To Throw Some More Caution To Its Wind
• 'Heretic' Imagines the Horror of Being Stuck in Conversation with a Man Who Does His Own Research
• Review: In 'Conclave,' the Election of a Pope Mirrors Familiar Political Rot
• 'Venom: The Last Dance' Review: Sony Squandered A Sure Thing
• The First Episode of 'Uzumaki' Was Amazing: What Happened With the Rest?
• 'Smile 2' is Even More Terrifying Than its Predecessor
• Anna Kendrick's Directorial Debut 'Woman of the Hour' Explores Misogyny Amid a Killer's Spree
• 'Lonely Planet' Review: Romance is Dead and Netflix Killed It
• Saoirse Ronan Fights Off The Bombs In Steve McQueen's WWII Drama 'Blitz'
• Review: Masturbating Zombies & Cate Blanchett Storm The G7 Summit In 'Rumours'
• Spoiling Joseph Gordon Levitt's Hilariously Bad Prime Video Film, 'Killer Heat'
• Review: The Haunting 'Nickel Boys' Turns Us All Into Ghosts
• 'The Great British Bake Show' Made a Mistake This Week
• All the Easter Eggs and Fan Theories From 'Agatha All Along,' 'Darkest Hour, Wake Thy Power'
• 'Terrifier 3' and Horror's Shift from Elevated to Extreme
• Cate Blanchett's Apple TV+ Series 'Disclaimer' is Beautifully Made
• 'Saturday Night' Is an Flattering Portrayal of the Talents of an Unflattering Cast
• Review: 'Anatomy of Lies' Reveals the Depths of Elisabeth Finch, a Very Nasty Scammer
• Review: 'V/H/S/Beyond' Takes Found Footage to Space and Back
• Netflix's Body-Swap Thriller 'It's What's Inside' Is One of the Best of the Year
• Prime Video's 'House of Spoils' is a Tasty Morsel
• Sarah Paulson Can't Act Her Way Out of 'Hold Your Breath'
• What Is the Current State of AMC's 'The Walking Dead: Universe'?
• 'Doctor Odyssey' Review: These Doctors Are Making Us Thirsty
• Cristin Milioti Steals the Show in the Mediocre, Shallow 'The Penguin'
• September's Audiobook of the Month, Danzy Senna's 'Colored Television'
• 'Babes' Captures the Messy Imperfections of Motherhood, Pregnancy, and Friendship With Hilarious Perfection
• Review: 'Lee' Follows a Woman Who Captured War's Worst Atrocities
• Review: 'Oddity' Is An Entire Cursed Object Shoppe's Worth Of Fright
• Review: Samara Weaving Kicks Unholy Ass In 'Azrael'
• Review: Sisters at Odds Come Together in Grief in Netflix's 'His Three Daugthers'
• Spoilers: What Is the Big Twist in Kathy Bates' 'Matlock' Reboot?
• 'Emilia Pérez' Is One of the Most Audacious Musicals of Our Time
• Death Becomes Demi Moore and Margaret Qualley in 'The Substance'
• Why Was Jon Lovett Eliminated from 'Survivor' 47? [Spoilers]
• Kaitlin Olson Goes Full 'Good Will Hunting' in ABC's Delightfully Formulaic 'High Potential'
• Hulu's 'How To Die Alone' Is a Portrait of a Working Woman Working On Herself
• Body Horror Meets Black Comedy in Cronenberg's Deeply Personal 'The Shrouds'
• Rebecca Hall's TV Series 'The Listeners' Offers a Languid but Unnerving Descent into Conspiracy
• Korean Slow Burn Drama 'By the Stream' is As Close to True Realism as Cinema Gets
• 'Really Happy Someday' Is a Different Kind of Transition Story
• 'M. Son of the Century' Depicts the Rise of Fascism Through Mussolini's Eyes
• Angelina Jolie's Earnest Drama 'Without Blood' is Respectable but Flat
• 'The Last of the Sea Women' Dives Head-First Into the Work of a Fierce but Dwindling Community
• Almodovar's Excellent 'The Room Next Door' Tackles Death, Friendship, and Love
• 'The Watchers' Review: Ishana Night Shyamalan Crafted a Clunker
• 'Vice is Broke' is Too Enamored With the Company's Legend to Tackle its Messy Truth
• 'Bonjour Tristesse' is a Visually Striking but Emotionally Inert Adaptation of a French Classic
• It Takes All 'Kinds of Kindness' In Yorgos Lanthimos' Latest Delicious Grotesquierie Of The Human Condition
• 'AfrAId' Review: Just How Scared of AI Does Blumhouse Want Us to Be?
• Review: 'Greedy People' Really Wants to be a Coen Brothers Film When it Grows Up
• 'Evil' Is Over
• Spoilers: 'The Umbrella Academy' Pulled Off A Great Ending, Even If Nobody Likes It
• Review: 'Alien: Romulus' Falls Into A Black Hole Of Fan Service
• 'Consumed' Is Lost in Its Own Woods
• Review: 'Cuckoo' Is a Unique Head-Scratcher
• Review: 'Steppenwolf' Tells The 'John Wick' Movies To Eff Off
• Review: 'Self Driver' Drags Our Dystopian Gig Economy To Hell & Back
• It's Hard for 'Tarot' to Exist in a Post-'Cabin in the Woods' World
• I Declare it 'Trap' Summer
• Review: 'Bookworm' Is Family Film Done Right With A Never Better Elijah Wood
• 'A Quiet Place: Day One' Is One of the Year's Biggest Surprises
• Review: 'Haze' Is A Sexy Slow-Burn Psychological Trip With Teeth
• Natalie Portman's Apple TV+ Series Is a Lot but It's So Good
• Stream It Or Nah: Peacock's 'Those About to Die' Starring Anthony Hopkins
• 'The Acolyte' Finale: Crouching Jedi, Hidden Guy in a Cave
• Nicolas Cage Is Horrifying in all the Wrong Ways in Oz Perkins' Bewildering 'Longlegs'
• Rachel Bloom's 'Death, Let Me Do My Show!' Offers Post-Covid Catharsis and Laughs
• 'The Acolyte' Episode 7: So That's What Sol Did (Yikes)
• 'MaXXXine' Review: Satan Bless Ti West and Mia Goth
• 'The Acolyte' Episode 6: Motherforking Sith Balls
• 'Fancy Dance' Is One of the Most Important Films You Can Watch This Year
• Chris Evans' 'Defending Jacob' on Apple TV+ Is Bleak and Dreary Comfort TV
• 'The Acolyte' Episode 5: Revenge of the Grillz
• Do You Have a Neighbor From Hell? 'Restless' Is the Movie for You
• 'Under the Grey Sky' Is an Unsettling Look at the Silencing of Journalists
• Review: 'Inside Out 2' Is a Heartfelt Emotional Journey with only a Minor Case of Sequelitis
• Add 'Beacon' to the List of Examples of Why a Lighthouse Make a Great Horror Setting
• Review: Carrie Coon & Shea Whigham Make Neo-Noir Magic In 'Lake George'
• 'The Acolyte' Episode 4: To Kill a Wookiee, Nerd
• Review: A Black Family's Home Invasion Twists 'The Knife' Into Unbearable Tension
• Review: Michael Cera & Michael Angarano Road-Trip Their Frayed Friendship Out In The Lovely Little 'Sacramento'
• Andrew McCarthy's 'Brats' Review: What if You Held a Reckoning and No One Showed Up?
• 'The Devil's Bath' Looks at a Very Shocking, Unexplored Chapter of European History.
• 'The Acolyte' Episode 3: Lesbian Space Witches and Nuance, Anyone?
• Review: 'The Weekend' Is 'Meet The Parents' In Hell
• Richard Linklater's 'Hit Man' Is the Best Possible Use of Glen Powell's No-Face
• Review: The Smashing 'Godzilla Minus One' Is Here To Make You ... Cry?
• In 'I Used to Be Funny,' Canada's Favorite Funny People Turn Trauma into Mystery
• Who Is the Sith Master in 'The Acolyte' Premiere? Some Theories
• Review: Viggo Mortensen Brings a Nod to Middle-Earth in 'The Dead Don't Hurt'
• Review: It's Pride Month Which Means You Have to Watch 'Backspot'
• 'Atlas' Review: Why Is Netflix's North Star a C-?
• The Oscar-Nominated 'Robot Dreams' Is A Magical, Melancholy Animated Masterpiece
• Review: The Slasher Is Reborn In The Terrifying 'In A Violent Nature'
• Can 'Furiosa' Live Up to the Perfection of 'Mad Max: Fury Road'?
• The 'Bridgerton' Side Plots Threaten to Outshine the Central Love Story
• Review: Amy Winehouse Biopic 'Back to Black' is Utterly Uninterested in Its Own Subject
• Review: 'I Saw the TV Glow' Is A Great And Terrible Fantasia
• Hopefully 'The Strangers' Trilogy is Better Than a Sum of Its Parts
• 'The Idea of You' Movie Changes the Book's Ending - For the Worse
• 'Kingdom of the Planet of the Apes' Waters Down Its Predecessors
• Hulu's 'The Contestant' Shows How Reality TV Scraped the Bottom of the Barrel Decades Ago
• 'The Fall Guy' Is This Year's 'Dungeons and Dragons'
• Jerry Seinfeld's 'Unfrosted' Is Underbaked and Unfunny
• In 'Evil Does Not Exist', Ryusuke Hamaguchi Offers a Quiet Exploration of Man Vs Nature
• Review: 'The Ministry of Ungentlemanly Warfare' Goes Bang with a Whimper
• 'Humane' Review: The Next Cronenberg Takes a Stab at the Family Dynasty
• Review: 'The Beast' Is a Sweeping Romance Film Unlike Any Other
• 'Abigail' Is a Violent, Dancing Delight
• Review: 'Under the Bridge' Is a Must-Watch True Crime Series That Gives the Victim a Voice
• Review: 'Sting' is a Charming Creature Feature and What I Wanted from 'Evil Dead Rise'
• Review: Alex Garland's 'Civil War' Is A Scary Minefield of Apolitical Provocations
• Review: 'The First Omen' Contains the Strength and Spirit of the Classic Horror Films
• There is No Way 'Sugar' Will Survive a Week-to-Week Rollout
• Review: 'The People's Joker' Is One of the Best and Most Subversive Comic Book Movies
• Review: Revenge Thriller 'Femme' Presents a New Kind of Femme Fatale
• Spoilers: Why Is Netflix's Korean Comedy 'Chicken Nugget' Getting Review-Bombed?
• How 'The Regime' and 'Palm Royale' Complicate Their Genres
• Review: Dirty Beautiful Josh O'Connor Digs Up The Past In 'La Chimera'
• How 'X-Men '97' Sidestepped Cyclops' Biggest Sin And Redeemed A Tragic Foe
• Is 'Palm Royale' the New 'Desperate Housewives'? Not Even Close
• Review: 'Ghostbusters: Frozen Empire' Is a Cold Day In Hail
• Conor McGregor Nearly Ruins Jake Gyllenhaal's Otherwise Riotously Fun 'Road House' Remake
• The Problem with Peacock's 'Apples Never Fall' Is Its Infuriating Ending [Spoilers]
• David Dastmalchian's 'Late Night with the Devil' Takes the Late-Night Wars into the Horror Genre
• Review: 'Damsel' Needs Saving from the Soulless Netflix Formula
• In 'The Animal Kingdom,' Humans Turn Into What They Truly Are: Animals
• 'Quiet on Set' Tracks Dan Schneider's Unsettling Two-Decade Reign Over Nickelodeon
• 'Girls5Eva' Season 3 Is a Straight Shot of Pure Joy
• 'Black Box Diaries' Tracks Shiori Itō's Attempt to Bring Japan's Sexual Crime Laws Into the 21st Century
• Time-Crossed Love is Messy Business in 'Timestalkers'
• The 'Feud: Capote vs the Swans' Finale Is All Vibes, No Substance
• Weirdo Mia Wasikowska Is Back And Weirder Than Ever In The Wellness Satire 'Club Zero'
• 'The Program' Is a Powerful True Crime Reckoning for the 'Troubled Teen' Industry
• 'Imaginary' Almost Sucks
• 'The Gentlemen' Review: Ritchie's Latest Episodic Caper is a Blast for Fans of his Formula
• Review: Kristen Stewart's 'Love Lies Bleeding' Is Gonna Kick Your Ass And Make You Beg For More
• What the Hell Is Going On in Apple TV+'s 'Constellation'?
• 'Shōgun' is TV's Next Big Epic
• It's Not the Filmmakers' Fault that Bill Belichick Sucks in 'The Dynasty: New England Patriots'
• Adam Sandler Is a Sad, Sad Boy in Space In Netflix's 'Spaceman'
• 'Dune: Part Two' Is Why We Make Science Fiction Movies
• 'Code 8 Part II' Review: Firestorm and Arrow Take on the Cops
• Review: 'Drive-Away Dolls' Is Lesbian 'Raising Arizona' Lite
• Review: How the Hell Did 'One Love' Make Bob Marley So Boring?
• Review: 'Bottoms' Is Tops!
• Review: 'Lisa Frankenstein' Is Just a Cinderella Story That Shops at Hot Topic
• Review: 'Out of Darkness' Unleashes Prehistoric Hell
• Review: 'Veni Vidi Vici' Is A Sociopath's Paradise
• Review: Put 'Argylle' Out With The Kitty Litter
• Rivers Solomon, Miriam Toews, Octavia Butler: The Pajiba January 2024 Book Recommendations Superpost
• 'Echo' Is Almost a Course Correction for Marvel (Until It's Not)
• Review: 'Killers of the Flower Moon' Is Top Tier Scorsese, Again
• Review: Dan Levy's 'Good Grief' Is A Lotta Grief, Only Some Of It Good
• George Clooney Embraces Full Cornball With His Depression-Era Sports Flick 'The Boys In The Boat'
• Freaks, Weirdos, and New Icons: The Top 10 Horror Movies of 2023
• Review: Bradley Cooper's Vapid 'Maestro' Is an Empty, Craven Affront
• Cartoon Ramona Flowers From 'Scott Pilgrim Takes Off' Can Get It
• Review: 'The Zone of Interest' Is The Most Important Movie Of The Year
• Review: Julia Roberts Wants To 'Leave The World Behind' With Mixed Results
• Review: 'Eileen' is a Neo-Noir About a Very Different Kind of Difficult Woman
• Review: Natalie Portman and Julianne Moore Unravel True Crime With 'May December'
• Review: 'The Holdovers' is a Throwback in All the Best Ways
• Ridley Scott's 'Napoleon' Is a Total Mess But an Absolute Blast
• Review: 'The Hunger Games: The Ballad of Songbirds & Snakes' Is The Best Film In The Franchise
• Review: 'Saltburn' Is An Acidic Class Satire Of Righteous Queer Fury
• David Fincher's 'The Killer' Is An Unblinking Sociopathic Master-Class Of Fun
• 'Dream Scenario' Is Nightmare Fuel
• Review: 'Fingernails' is a Romantic Tale with No Love and No Logic
• Netflix's 'All the Light We Cannot See' Is Trite, Clumsy, and Occasionally Aggravating
• Review: 'Priscilla' Puts 'Elvis' On Blast
• Review: 'Suitable Flesh' Is Here To Penetrate Yours With Lovecraftian Lunacy
• The 'Ahsoka' Finale Chose 'Pew Pew Pew' Over Its Best Characters
• Review: Emma Stone Is The Lightning That Animates 'Poor Things'
• Review: 'All Of Us Strangers' Is An Astonishment
• Episode 7 Recap: 'Ahsoka' Refuses to Move Past Fan Service
• Spoilers: 'Expend4bles' Is Miser4ble
• Episode 6 Recap: 'Ahsoka' Finally Hit Its Weird, Surprisingly Metal Stride
• The Endlessly Magnetic Colman Domingo Elevates the By-The-Numbers Biopic 'Rustin'
• 'Viva Varda!' Does Justice to a Filmmaking Legend's Life in One Hour
• Netflix's 'El Conde' Is a Magnificently Black-Hearted Little Wonder of a Thing
• 'Boy Kills World' Is a Throat Punch Weirdo Action Darling
• With 'A Haunting in Venice' Kenneth Branagh Finally Gets His Hercules Poirot Right
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• Recap: 'Ahsoka' Finally Unleashed Ray Stevenson in a Meatier Episode 4
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• Review: The Heat Generated In Ira Sachs' 'Passages' Will Scorch Your Soul
• Review: Nicolas Cage Burns It Down, Again, In 'Sympathy For the Devil'
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• Netflix's 'They Cloned Tyrone' Learned the Right Lessons From 'Get Out'
• Review: 'Barbie' Becomes Death, Destroyer of Worlds
• Review: Christian Petzold's Emotional Apocalypse Will Set Your Summer 'Afire'
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• Review: 'Asteroid City' Is One of Wes Anderson's Very Best Movies
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• Review: With 'Baby J,' John Mulaney Returns To Discuss Almost Everything You Want Him To
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• Stream It Or Nah: The Harrowing 'The Good Mothers' on Hulu/Disney+
• 'The Mandalorian' Season 3 Finale Ending Explained
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• Review: 'Renfield' Is Too Busy Worrying We're All Stupid to Be Any Good
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• Review: The Mustache Unmakes The Man In The Unsettlingly Sparse 'The Integrity Of Joseph Chambers'
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• Review: The Charming 'Catherine Called Birdy' Brings Adolescent Angst and Jokes to Medieval England