Welcome to the Author Archive for Roxana Hadadi

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Roxana Hadadi, Film Editor: Roxana writes about film, television, and culture with sides of judgment and thirst. Her writing has also been published by The A.V. Club, RogerEbert.com, Crooked Marquee, The Playlist, Bright Wall/Dark Room, and Chesapeake Family magazine. She is a member of the DC Area Film Critics Association, the Alliance of Women Film Journalists, and the Online Film Critics Society, and a Tomatometer-approved critic on Rotten Tomatoes. She lives in the suburbs of Baltimore, Maryland. You can follow her on Twitter.

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• Review: 'Small Engine Repair' is Sort of Mind-Boggling in Its Suggestion for How to Counter Revenge Porn
• Review: Jane Campion Probes at the Limits of Hate and Love in 'The Power of the Dog'
• Review: Oscar Isaac Holds Together Paul Schrader's Unwieldy 'The Card Counter'
• Review: The Inconsistent 'House of Gucci' Feels Mostly Ephemeral
• Review: Kristen Stewart Is a Compelling Diana in the Fantastical Ghost Story 'Spencer'
• Was 'The Great British Baking Show' Semifinal the Most Humanistic TV You'll Watch All Year?
• Review: 'Last Night in Soho' Is Immersive, Muddled, and Stumbles Over Itself
• Review: Aubrey Plaza and Michael Caine Are a Promising Pairing Who Elevate the Deeply Predictable 'Best Sellers'
• Spoilers: Did a Big Pharma Exec Come Up with the Real Big Bad in Netflix's 'Sweet Girl'? The Hell Was That?
• Review: 'Habit' is So Busy Pissing Off the Religious Right That It Forgets to Do Much Else
• Spoilers: About the Ending of 'Candyman' and How the Film Can't Decide How to Treat Its Main Character
• Review: Dev Patel Get Sweaty In David Lowery's Wry and Melancholy 'The Green Knight'
• Spoilers: The Sorta Sci-Fi, Sorta Legal Thriller 'Naked Singularity' is a Big Old 'Huh?' in Movie Form
• Spoiler Recap: 'Fear Street Part 3: 1666' Wraps Up the Shadyside vs. Sunnyvale Rivalry
• Spoiler Recap: 'Fear Street Part 2: 1978' Goes to Camp in an Obvious, Entertaining Homage to 'Friday the 13th'
• Recap: R.L. Stine's Netflix Trilogy 'Fear Street Part 1: 1994' Evokes 'Scream' with a Witch and a Curse
• The Heart of the 'Fast & Furious' Franchise Has Always Been Sung Kang's Han Lue
• Spoilers: What is the Twist Ending of Hulu's 'False Positive'
• Review: 'The Hitman's Wife's Bodyguard' is Tortuous, Tedious, and Boring
• Review: 'Skater Girl' is a Coming-of-Age Fantasy that Puts Being Inspirational Above All Else
• Review: Filmmaker Christian Petzold Imagines the Fantastic and Again Explores German Identity in the Spellbinding 'Undine'
• Review: Disney's 'Cruella' Lacks Sincerity and Identity, and No Amount of Jaunty Posing from Emma Stone Can Hide That
• Review: Haifaa Al Mansour Returns to Saudi Arabia for the Satisfying 'The Perfect Candidate'
• Review: 'Profile' Wears Out the Screen-Only Approach with a Tepid Thriller
• Review: Tahar Rahim Proves That Golden Globe Nomination Was Deserved in 'The Mauritanian'
• The Second Trailer for 'The Green Knight' Lays Out More Plot, Reminds of Dev Patel's Hotness
• Review: 'Wrath of Man' is the Latest Joyless Entry in Guy Ritchie's Oeuvre
• Review: Taylor Sheridan Dives into American Imperialism with the Infuriating 'Tom Clancy's Without Remorse'
• What is Character Actor Denis O'Hare's Dr. Edmund Hague Doing on 'The Nevers'
• The Cicadas Are Coming, and Why You Should Read Your Local News
• Review: Morgan Freeman Sleepwalks and Ruby Rose Glowers Through the Thoroughly Underwhelming 'Vanquish'
• Review: Coming-of-Age Comedy 'Shiva Baby' is Uncomfortably Hilarious and Universally Endearing
• Review: Leah Purcell Guides the Strongly Acted 'The Drover's Wife: The Legend of Molly Johnson'
• Review: 'Fruits of Labor' and 'Ludi' Explore Intersectionality and the Grueling American Dream
• Rewatching 'Buffy the Vampire Slayer' is a Reminder That Xander Harris Was the Absolute Worst
• Review: 'Without Getting Killed or Caught' Ponders the Bonds Tying Guy and Susanna Clark and Townes Van Zandt
• Review: 'Trapped' Gives Egypt's 2011 Revolution An Uneven Vignette Treatment
• Spoilers: Explaining the Epilogue of 'Zack Snyder's Justice League' and What to Remember from 'Batman v Superman: Dawn of Justice'
• Mia Farrow's Fear is the Most Revealing Part of 'Allen v. Farrow'
• Review: For 'Zack Snyder's Justice League,' More Doesn't Necessarily Mean Better
• Review: The Russo Brothers Embarrass Themselves with the Abysmal 'Cherry'
• Review: 'Raya and the Last Dragon' is a Return to Disney's '90s Adventures
• Review: Steven Yeun Leads a Pitch-Perfect Ensemble Cast in the Hilarious and Heartbreaking 'Minari'
• Review: 'GBBO' Winner Nadiya Hussain Steps Confidently into Her Own on 'Nadiya Bakes'
• 'The Stand,' 'His Dark Materials,' 'WandaVision,' and TV Shows I've Quit During Quarantine
• Review: Filmmaker Sarah Gavron Follows Up 'Suffragette' With 'Rocks'
• Review: 'The Night' is Horror in the Key of Poe, Kubrick, and Gogol
• Is Tom Brady the Greatest American Athlete? That MAGA Hat Might Complicate Things
• Review: 'Everyone is Doing Great' is a 'One Tree Hill' Reunion Doing Its Best 'Party Down' Imitation
• Review: Give 'Sound of Metal' a Twee Makeover and You Have Hulu's 'The Ultimate Playlist of Noise'
• Review: Regina King's Directorial Debut 'One Night in Miami...' is a Vibrant Imagined History
• Review: Anthony Mackie Grounds the Curiously Contained 'Synchronic'
• The Questions of Male Consent That Puncture Both Fantasy Worlds of 'Bridgerton' and 'Wonder Woman 1984'
• Review: Chadwick Boseman is Excellent in His Final Role in Netflix's 'Ma Rainey's Black Bottom'
• Pajiba 10 For Your Consideration: Jared Keeso and the 'Letterkenny' Cast
• Review: Steven Soderbergh's Slyly Funny 'Let Them All Talk' Gives Dianne Wiest and Candice Bergen the Roles They Deserve
• Review and Interview: Darius Marder on 'Sound of Metal,' and Why Riz Ahmed Deserves an Oscar Nomination
• 'Great British Bake Off' Season Eight-Series Eleven Finale Recap: Did Dave, Laura, or Peter Win?
• 'Great British Bake Off' Quarterfinals Update: A Bittersweet Farewell to My Favorite Contestant
• Review: As Defined by Passion as It is By Desperation, 'Ammonite' Refuses Easy Classification as a Love Story
• Review: Charlie Hunnam Brings Dirtbag Energy to 'Jungleland'
• Review: 'His House' is Elegantly Constructed, Deeply Terrifying Horror
• Pajiba Investigates: Why Weren't the Cages Around Tarts Judged on 'Great British Bake Off'?
• Now On Netflix: Why Remake 'Rebecca'? Seriously, Though
• Review: David Byrne and Spike Lee Team Up for the Jubilant 'American Utopia'
• Ode to a Butterfly: On the Symbol in 'Antebellum' and 'Possessor Uncut'
• Review, with Spoilers: The Deeply Anticlimactic 'Evil Eye' is a Misfire from Blumhouse
• Review: 'Yellow Rose' is a Beautifully Nuanced Portrait of the Undocumented Experience
• Review: 'Charm City Kings' Paints a Vibrant and Powerful Portrait of Baltimore City
• Review: FX's MacDonald Murders Miniseries 'A Wilderness of Error' Is Highly Bingeable
• Review: 'The Outpost' Tells You Exactly the American-Heroism Story You Expected
• Review: Millie Bobby Brown Shines in the Refreshingly Spunky 'Enola Holmes'
• Review: 'The Devil All the Time' is a Grimy, Compelling Thriller in Love With Its Own Bleakness
• Spoilers: On the Deeply Dissatisfying 'I'm Thinking of Ending Things'
• Review: Netflix's Marketing Misstep Overshadows the Thoughtful 'Cuties'
• Review: 'Mulan' Flattens Its Titular Character into Yet Another Supercharged Superhero
• Review: Christopher Nolan's 'Tenet' is Visually Gorgeous and Emotionally Inert Filmmaking
• Spoilers: 'Tesla' Does Karaoke of 'Everybody Wants to Rule the World' by Tears for Fears
• Review: Michael Almereyda's 'Tesla' is Audaciously Strange, But Never Quite Grabs You
• 'Lovecraft Country' Imagines Pulpy Dreams and Nightmares with Black Americans at Their Center
• 'Boys State' is the Scariest Movie I've Seen All Year
• Review, with Spoilers: Shia LaBeouf Isn't the Worst Part of David Ayer's 'The Tax Collector'
• Review: 'The Secret Garden' Mistakenly Abandons the Natural Splendor of the Novel
• 'Perry Mason' Never Quite Know What to Do with Tatiana Maslany
• How are the Church and the LAPD Connected in 'Perry Mason'?
• Review: 'The Shadow of Violence' Elevates Familiar Themes About Masculinity and Violence
• Review, with Spoilers: About That Twist in the Lesbian Love Story 'Summerland'
• Eco-Horror Films 'Sea Fever' and 'The Beach House' Compellingly Argue for Bailing on Humanity
• Review: The Biopic Formula Lets Down 'Radioactive' and Marie Curie
• How Dave Franco and Alison Brie's 'Elevated' Romantic Comedy Definition Dismisses the Genre
• Review: Jenny Slate's Latest Indie 'The Sunlit Night' Barely Explores Artistic Freedom
• Review: 'Dirt Music' is Mostly a Beautiful Tourism Ad for Australia
• Marwan Kenzari in 'The Old Guard' is the Brown Romantic Lead We've Been Demanding
• Olivier Assayas's 'Wasp Network' Collapses the Barrier Between Personal and Political
• Jon Stewart's Toothless Political Commentary 'Irresistible' Ignorantly Centers Whiteness
• Channing Godfrey Peoples's 'Miss Juneteenth' Updates the Feminist 'I Choose Me' Trope
• Review: Garrett Hedlund and Forest Whitaker Mean Well, But 'Burden' Lacks Impact
• Pro-Choice Movies 'Never Rarely Sometimes Always' and 'Premature' Educate About Women's Health Care
• Review: Spike Lee's 'Da 5 Bloods' Takes on the Sprawling Effects of American Immorality
• Review: John Hawkes and Logan Lerman Star in the Touching 'End of Sentence'
• White Celebrities and the NAACP Team Up for an 'I Take Responsibility' PSA
• An Instagram Photo Shows Bon Appétit Editor in Chief Adam Rapoport in Brownface
• Review: HBO's 'Skate Kitchen' Spinoff 'Betty' is What You Should Binge ASAP
• Get Your Queue Ready: A List of Movies from Black Filmmakers That You Should Watch
• Review: 'The High Note' is Cheesy But Charming, a Comfortingly Glamorous Fantasy
• Investigating the Militaristic Trend in 'The Old Guard' and Netflix Originals
• Review: Adam Sandler is Your Unhinged NYC Tour Guide in A24's 'Uncut Gems'
• Spoilers: How Did HBO's 'Run' End? Will There Be a Second Season?
• Review: You've Seen Netflix's 'The Lovebirds' Countless Times Before
• The Nostalgia Bait and Obvious Subjectivity of Michael Jordan in 'The Last Dance'
• Review: Brian Dennehy's Film 'Driveways' Is a Reminder That There is Good in the World
• Why is Outkast's 'Bombs Over Baghdad' Used in Scoob!?
• Alison Roman and the Exhausting Prevalence of Ethnic Erasure in Popular Food Culture
• Alan Yang's Film 'Tigertail' Broadens a First-Gen Conversation Started on 'Master of None'
• Review: 'Saint Frances' is a Laser-Sharp Analysis of Motherhood
• Review: Character Actor Rob Morgan Deserves an Oscar Nom for 'Bull'
• On Thirst and Subversive Gender Performance in 'True History of the Kelly Gang'
• Review: The Derivative 'All Day and a Night' Treads Familiar Water for Netflix
• 'Beastie Boys Story' is a Love Letter to Moral Compass Adam Yauch
• In Memoriam: Irrfan Khan Was a Gentleman Who Captured Your Heart With His Eyes
• Which Set-in-2020 Disaster Movie Would You Rather Be Living in Right Now?
• Review: Julia Garner is Exceptional in the Harvey Weinstein-Inspired 'The Assistant'
• Review: Zombie Horror and Colonialism Critique 'Blood Quantum' Delivers on Outlandish Gore
• Review: 'Isn't It Romantic' Succeeds Where 'I Feel Pretty' Failed Last Year
• Review: 'Extraction' Wants to Be 'Man on Fire,' But No White Savior Can Best Denzel
• Why is 2007 Film 'There Will Be Blood' Trending on Twitter?
• Review: 'Endings, Beginnings' is an Irritatingly Narrow View of Womanhood
• Review: The Flat Villains of 'Run' Threaten to Derail the Show's Smoldering Sexual Energy
• Review: Why Can't the Fourth Season of 'Insecure' Quit Lawrence Already?
• Review: Netflix's WWE Marketing Exercise 'The Main Event' is Rough Going
• Vanity Fair's 'Dune' First Look Reminds Us of This Movie's Middle Eastern Representation Problem
• You Can Just Not Watch Netflix's 'Tiger King,' It's Fine
• Review: Terrence Malick's 'A Hidden Life' is A Beautiful But Opaque Conversation With God
• Review: Sally Potter's 'The Roads Not Taken' is a Plea for Compassion at All Times
• Review: 'Devs' Offers the Best and Worst Instincts of Creator Alex Garland
• Review: The Emotions of 'Waves' Give Shape to Movie as Mixtape
• Review: Riz Ahmed's Short Film 'The Long Goodbye' Follows in M.I.A.'s Footsteps
• Review: 'Miss Fisher and the Crypt of Tears' is Flirty, Subversive Fun
• Review: Stream Ava DuVernay's Netflix Hidden Gems 'Burning Cane' and 'The Body Remembers When the World Broke Open'
• Review: Apple TV+'s 'The Banker' Tells the True Story of America's First Black Bankers
• Review: Dee Rees's Joan Didion Adaptation 'The Last Thing He Wanted' Very Nearly Works
• Review: Benh Zeitlin's Twee Onslaught 'Wendy' Has a Race Problem
• Spoilers and an Attempt to Explain 'The Outsider' Finale 'Must/Can't'
• Review: 'Run This Town' Focusing on Toronto Mayor Rob Ford's Downfall and Millennial Rage
• The Timely Anti-Capitalist Messaging of Ken Loach's 'Sorry We Missed You'
• Review: Leigh Whannell and Elisabeth Moss Turn on the Patriarchy With a Thrilling 'The Invisible Man'
• How Does Folklore Shape What the Monster El Cuco is Doing on 'The Outsider'?
• 'A Shaun the Sheep Movie: Farmageddon' is the Very Adorable Movie You Need Right Now
• Spoilers: 'Weathering With You,' Climate Change, and the Possibility We're Already Too Late
• In Praise of Miranda Otto's DGAF Energy in 'Downhill'
• Review: One of the Best Drug War Movies You'll Ever See is the Iranian 'Just 6.5'
• 'Sonic the Hedgehog' Gets Cheesy With Olive Garden Product Placement
• Review: Issa Rae and Lakeith Stanfield Can't Quite Invigorate 'The Photograph'
• Review: Romantic Dramedy 'Olympic Dreams' Offers Authenticity With Its Depiction of Athlete Village
• Harley Quinn is a Hot Girl for Bernie Sanders in 'Birds of Prey'
• Spoilers: What Happens to Alison Brie's Sarah in Netflix's 'Horse Girl'?
• The Academy Awards Should Add Ensemble, Stunt, and Youth Categories
• Before Disney's 'Hamilton' Hits Theaters, What Has the Original Cast Been Up To?
• Your Explainer of All the Middle-Eastern Stuff Shakira Did During the Super Bowl Halftime Show
• Spoilers: Cosmic Horror Overlaps Between 'Color Out of Space' and 'Annihilation'
• Spike Jonze's 'Beastie Boys Story' Has a Trailer, Will Premiere at SXSW
• Review: Guy Ritchie's 'The Gentlemen' is a Boring Slog of Racist Caricatures
• Spoilers: What Happens at the End of 'The Turning'?
• A Pajiba Investigation: Is Diplo a Dirtbag or a F*ckboi?
• An Open Letter to Ryan Gosling: Where Are You? Come Back to Us!
• Will Smith's Late Career Turn Shifts Him from Fresh Prince to America's Dad
• The Worst of 'Dolittle', From Swiping Chris Tucker's Jokes to Constipated Dragons
• Review: With Michael Bay's Exit, 'Bad Boys For Life' Achieves Unexpected Emotional Maturity
• Sci-Fi Auteur Shane Carruth of 'Primer' and 'Upstream Color' is Retiring
• Review: HBO's 'The Outsider' is Moodily Atmospheric and Tightly Plotted
• Stephen King Reveals His White Privilege with Academy Award Comments
• Who Could Get Snubbed for Nominations for the 92nd Oscars in 2020?
• The Horniest Moments and Scenes of 2019 Movies
• Review: The Final Season of 'Schitt's Creek' is a Bittersweet Goodbye
• What Parts of 'The Subtle Knife' Will Be in Season Two of 'His Dark Materials'?
• Review: 'Just Mercy' is Earnest But Formulaic in Portraying Bryan Stevenson and Walter McMillian
• Review, with Spoilers: Netflix and Michael Bay's Utterly Grotesque '6 Underground'
• Review: 'Hala' on Apple TV+ is Precious and Poignant
• Review: Clint Eastwood and Billy Ray Smear Kathy Scruggs in 'Richard Jewell'
• The Fiercely Feminist 'Mad Max: Fury Road' is the Best Film of the Decade
• Review: Sam and Aaron Taylor-Johnson Faithfully Adapt James Frey's Discredited 'A Million Little Pieces'
• Review: A24's Giallo 'In Fabric' is Voyeuristic and Disturbing
• In 'The Daemon Cages,' 'His Dark Materials' Reveals What the Gobblers are Doing in Bolvangar
• Review: 'The Aeronauts' Rewrites History to Reunite Eddie Redmayne and Felicity Jones
• Review: The Gorgeous Imagery and Narrative Urgency of 'Queen & Slim'
• 'Killing Them Softly' Captured the Rage and Resentment of Post-Recession Cinema
• Who are Will Parry and Serafina Pekkala in 'The Lost Boy' from 'His Dark Materials'?
• 'Mudbound': The Real Story of America Isn't a Light Fairy Tale
• Review: 'The Report' Names the War Criminals Who Got Away
• Lyra Reads the Golden Compass and Learns About Her Parents in 'His Dark Materials' 'The Spies'
• Spoilers: Who is the Killer in Netflix's 'Earthquake Bird'?
• Review: Every Older Relative You Have Will Praise 'Midway' This Thanksgiving
• Review: Ian McKellen and Helen Mirren Act Their Asses Off in 'The Good Liar'
• Review: James Mangold's 'Ford v Ferrari' is a Highly Satisfying Dad Movie
• 'His Dark Materials' Unleashes Major Spoilers from Philip Pullman's Books
• Could We See Nite Owl in HBO's 'Watchmen'?
• Why Doesn't 'Last Christmas' Let Henry Golding and Emilia Clarke Get Down?
• Review: Netflix's 'The King' Is Gorgeous and Tedious
• Recap: 'His Dark Materials' Begins with a Whirling, Confusing Introduction to 'Lyra's Oxford'
• Review: 'Jojo Rabbit' is a Surprisingly Conventional Holocaust Film
• Review: Antonio Banderas Could Win the Best Actor Oscar for 'Pain and Glory'
• Review: Jennifer Kent's 'The Nightingale' Is a Brutal Rape Revenge Story
• Which Nikola Tesla Was Hotter: David Bowie in 'The Prestige' or Nicholas Hoult in 'The Current War'?
• 'Maleficent: Mistress of Evil' and 'Modern Love' Share a Whitewashed Idea of Love
• Review: 'Parasite' is a Fantastically Dark Portrait of Classist Indoctrination
• What Happened to Chester and Yuko on AMC's 'The Terror: Infamy'?
• Review: 'Monos' and 'Tigers Are Not Afraid' Put Surreal Spins on Childhood Trauma
• Review: Documentary 'Saudi Women's Driving School' Goes Hard on Girl Power
• Review: 'The Laundromat' is a Rare Misstep for Steven Soderbergh
• What Happened to Walton Goggins's Uncle Baby Billy on 'The Righteous Gemstones' Finale?
• Review: 'Lucy in the Sky' Wastes a Dynamite Natalie Portman Performance
• Recap: 'Succession' Ends With Blood Sacrifice Kendall Declaring War on the Roys
• Review: 'The Addams Family' Reinforces the Idea That Normalcy is Overrated
• For Some Reason, Len Wiseman Will Direct 'John Wick' Spinoff 'Ballerina'
• Recap: Who Will be the 'Blood Sacrifice' in 'Succession'?
• Spoilers: What Happened to Zazie Beetz in 'Joker'? Does Joker Kill Sophie?
• 'Joker' is a Comic Book Movie, Can We Stop Pretending It's Not?
• Spoilers: Netflix's Time-Travel Crime Drama 'In the Shadow of the Moon'
• Review: 'Brittany Runs a Marathon' Honestly Tackles Anxieties About Wellness and Weight
• Review: A24's 'Low Tide' is a Slow Burner About Class and Crime
• Recap: Shiv Makes Her Move in 'Dundee' as 'Succession' Nears its Endgame
• 'Between Two Ferns' Calls Bradley Cooper and Jon Hamm 'Hot Idiots'
• 'Joker' Director Todd Phillips Needs to Keep Keanu's Name Out of His Mouth
• Recap: 'Succession' Travels to London With Double-Crosses Galore in 'Return'
• Review: Brad Pitt Reminds Us Why He's a Star in 'Ad Astra'
• Review: 'The Cave' Captures the Resilience of Those Who Remain in Syria
• Review: 'The Goldfinch' Fails to be Anything at All
• Review: Golshifteh Farahani Doesn't Have Enough to Do in 'Arab Blues'
• Review: 'Made in Bangladesh' is a Rallying Cry for Women's Rights
• Recap: 'Succession' Takes on the Davos World Economic Forum in 'Argestes'
• Review: Iranian Films 'Son-Mother' and 'Love Child'
• Recap: No One in the Roy Family Knows Their Role in 'Succession's' 'Tern Haven'
• Will There Be a 'Mindhunter' Spinoff?
• Review: 'Official Secrets' is a Surprisingly Dull Whistleblower Drama
• Recap: 'Succession' Ascends With 'Safe Room' Thanks to Holly Hunter
• Stream It or Nah: Pretty People Play With Puns in Netflix's 'Falling Inn Love'
• Perspective: On 'Blinded by the Light' and Being the Only Brown Face in the Room
• Recap: 'Succession' Goes Full 'Lord of the Flies' in 'Hunting'
• 'The Great British Baking Show' Returns to Netflix on August 30!
• Recap: Everyone in 'Succession' is Burning Bridges in 'The Vaulter'
• Stream It or Nah: 'Otherhood' is a Tiring Portrait of Meddling Mothers as Martyrs
• Review: Season 2 of 'The Terror' is a Devastating Ghost Story About the Horrors of Internment
• Recap: 'Succession' Kicks Off Season 2 With 'The Summer Palace' and Pettiness and Backstabbing
• Review: 'After the Wedding' Elevates a Familiar Conversation About Wealth and Morality
• Season 2 of 'Succession' Starts Sunday. Where Did We Leave Off?
• Review: There's Little Heat to the Disjointed, Disappointing 'The Kitchen'
• Very Hot Dad Andy Serkis Confirms He Will Direct 'Venom 2'
• Stream It or Nah: 'The Red Sea Diving Resort' Features an Extremely Hot Chris Evans
• Review: 'Them That Follow' Expands Our Understanding of American Pentecostalism
• Is Quentin Tarantino a 'Justified' Superfan? A 'Once Upon a Time ... in Hollywood' Exploration
• Review: 'Once Upon a Time ... in Hollywood' is a Glitzy and Melancholy Gaze Backward
• Recap: Season Two of 'Big Little Lies' Wraps With Finale 'I Want to Know'
• Final Predictions for the 'Big Little Lies' Season Two Finale, 'I Want to Know'
• Yes, 'Crawl' is a Horror Movie--But About the Perils of Homeownership
• Recap: Andrea Arnold Was Denied Control of 'Big Little Lies,' and 'The Bad Mother' Begins the End
• Spoilers: Bad Shows You Can't Quit, and 'Dexter'
• Recap: 'Big Little Lies' Slows Down With Generational Trauma in 'Kill Me'
• Spoilers: Theorizing What the Runes Throughout 'Midsommar' Mean
• Danny Boyle and Richard Curtis's 'Yesterday' Didn't Need to Erase Oasis
• Review: Ari Aster's 'Midsommar' is a Riotously Colored Acid Trip
• Review: Thom Yorke's Netflix Film 'Anima' is a Transfixing Kaleidoscope of Anxiety and Love
• Recap: Mary Louise Shakes Up 'Big Little Lies' in 'She Knows'
• Review: 'Madam Yankelova's Fine Literature Club' Works as a Dark Fairy Tale
• Review: A24's 'The Last Black Man in San Francisco' is Gorgeously Shattering
• Recap: The 'Big Little Lies' Women are Unraveling in 'The End of the World'
• Review: The Meta 'Toy Story 4' Boasts a Delightful Keanu Reeves
• Review, With Spoilers: 'Anna' is Another Artificially Feminist Luc Besson Movie
• Review, With Spoilers: 'Murder Mystery' is Just Another Lazy Adam Sandler Movie
• Recap: 'Big Little Lies' Blows Secrets Open in 'Tell-Tale Hearts'
• Review: Mindy Kaling's 'Late Night' Takes Aim at Comedic White Patriarchy
• The Feminism Lip Service of That 'X-Women' Scene in 'Dark Phoenix'
• Recap: 'Big Little Lies' Returns With Season Two Premiere 'What Have They Done?'
• Review, With Spoilers: Octavia Spencer is Wasted in 'Ma'
• All the Actors From 'Game of Thrones' Who Showed Up on 'Chernobyl'
• 'Rocketman' and 'Bohemian Rhapsody' Share a Sex Scene That Ties Queer Desire to Self-Destruction
• Review: HBO's 'Chernobyl' Provides Humanity to the Rippling Effects of a Catastrophe
• Review: Ali Wong and Randall Park are Fantastic in Netflix's 'Always Be My Maybe'
• Review: 'Deadwood the Movie' is a Flawless Legacy for David Milch
• Disney's 'Lion King' Posters Are Just ... What Lions Look Like
• Spoilers: The Movie Version of Shirley Jackson's 'We Have Always Lived in the Castle'
• Review: The Women of 'Wine Country' Are Having a Blast That Doesn't Translate to Viewers
• Review: Count on Disney to Make 'Aladdin' More Orientalist Than It Already Was
• Review: Olivia Wilde's 'Booksmart' is a Bold and Hilarious Portrait of Female Friendship
• Jacki Weaver is That B*tch in 'Poms'
• Review: 'A Dog's Journey' Loads Up on Melodrama Rather Than Dogs
• Varys Actor Conleth Hill Isn't Too Pumped About How 'Game of Thrones' is Ending, Either
• Spoilers: The Punching Down at Journalism in 'Long Shot' Was Totally Unnecessary
• Review: 'The Hustle' Works Best With No Knowledge of 'Dirty Rotten Scoundrels'
• 'Game of Thrones' Treats Its Characters of Color as Props, Part Infinity
• Review: A24 Wrongly Buried the Bizarre, Entrancing Fever Dream That is 'Under the Silver Lake'
• Review, With Spoilers: Claire Denis's Unsettling Space Horror 'High Life' Attempts to Understand Humanity
• Review: Netflix's Rom Com 'Someone Great' is a Sugar Rush With Millennial Gloss
• Review: Beyoncé's 'Homecoming' is Peak Self-Mythologization
• Review: Easter and Passover Weekend Was the Right Time for 'Mary Magdalene'
• Review: 'Fast Color' Presents Matrilineal Strength as a Superpower
• Review: The Gorgeously Shot 'The Mustang' is Affecting But Uneven
• Review: Western Horror 'The Wind' Spookily Links Isolation and Hysteria
• Spoilers: 'Little' is Mostly Great, So Why Include a Transphobic Joke?
• Laika's 'Missing Link' Furthers Our Pop Culture Convo About Immigration
• Review: 'The Best of Enemies' is This Year's 'Green Book'
• In Appreciation, Post 'Shazam!': Mark Strong Is the Best Damn Bad Guy We've Got
• Review: Julianne Moore Explores Womanhood as Transformation in 'Gloria Bell
• Spoilers: Jordan Peele's 'Us' -- Talking About Michael Jackson's 'Thriller' and Those Bunnies
• Review: Camila Morrone Shines in the Family Drama 'Mickey and the Bear'
• Spoilers: Indie Darling 'Transit' Uses the Absurd to Heighten the Terror of Fascism
• Review: Hottie-Heavy 'Triple Frontier' Excels When Eviscerating American Imperialism
• Review: Dev Patel is Very Grown in the Twisty Neo-Noir 'The Wedding Guest'
• SXSW 2019: Alexandria Ocasio-Cortez Shaded Ronald Reagan
• Review: 'Leaving Neverland,' like 'Surviving R. Kelly' and 'Abducted in Plain Sight,' Centers On Victims
• Review: 'Greta' Warns Against Ignoring Women's Fears
• Recap: 'True Detective' Wraps Up the Mystery With Shade at True Crime
• Owen Gleiberman Mansplains the Romantic Comedy
• 'True Detective' Recap: We're No Closer to Julie Purcell in 'The Final Country'
• Mickey Rourke Stars in an Unnecessary Incest Storyline in 'Berlin, I Love You'
• The Highs and Lows of 'The LEGO Movie 2,' and Yes, Worst Chris is on This List
• Review: Steven Soderbergh's 'High Flying Bird' on Netflix
• 'True Detective' Recap: The Link Between Hoyt Foods and Julie's Pink Room
• Review: Taraji P. Henson's 'What Men Want' Improves Mel Gibson's Original
• Review: There's No Mads Mikkelsen Nudity in the Effectively Grueling 'Arctic'
• 'True Detective' Recap: Is That Really Julie in 'If You Have Ghosts'?
• I Finally Watched A24's 'Hereditary,' and Oh Dear God, Will I Ever Sleep Again?
• Review, With Spoilers: Netflix's 'Polar' Fails to Recreate the Style of 'John Wick'
• 'True Detective' Recap: Is Eliza Sleeping with Henry in 'The Hour and the Day'?
• 'True Detective' Recap: Is Mahershala Ali's Hays Seeing Ghosts in 2015?
• Review: Does Noomi Rapace Play the Bodyguard Jacquie Davis in the Netflix Movie 'Close'?
• The Homophobic Lyrics of The Weeknd's Single 'Lost in the Fire'
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