Film Reviews
She’s American, charming, chronically late, and her phone is always running out of juice. He’s British, prompt, has a fully charged phone and spouts statistics.
Anyone who has eagerly followed Gael Garcia Bernal since his breakthrough roles in “Amores Perros” and “Y tu mamá también” likely never foresaw him one day in the world of lucha libra wrestling.
Kenneth Branagh indulges in the kind of macabre theatricality that only a crumbling Venetian palazzo on a stormy Halloween night can provide in “A Haunting in Venice,” which co-stars Tina Fey, Kelly Reilly, Michelle Yeoh, Jamie Dornan, Jude Hill and Camille Cottin.
If ever there was an inspirational story about reaching for the stars, it’s “A Million Miles Away,” about the real-life journey of how a boy who grew up as a migrant farmworker became a NASA astronaut.
When in Greece, all roads lead to ... a wedding. How could they not, in a sequel to Nia Vardalos’ enormously successful rom-com “My Big Fat Greek Wedding”?
“The Conjuring” Universe celebrates 10 years in business this fall with the dull “The Nun II,” a movie that seems destined to pound a nail into this franchise’s coffin, says Associated Press critic Mark Kennedy.
The Chilean dictator Augusto Pinochet is not dead in Pablo Larraín’s “El Conde.” He is instead a 250-year-old vampire living in semi-exile and wishing for death in this audacious allegory about history’s tendency to repeat itself, shot in sublime, otherworldly black and white, writes Lindsey Bahr in
Antoine Fuqua’s “Equalizer 3,” a taut and textured sequel to Washington’s vigilante series, isn’t one of the actor’s best films. It wouldn’t crack his top 10.
The rites and rituals of the raunchy high-school comedy can be as prescribed as a class syllabus, but what makes Emma Seligman’s “Bottoms” such an anarchic thrill is how it couldn’t care less.
Golda Meir was many things. She was modern Israel’s first and only female head of government and a wartime prime minister.
Reggie, a border terrier with an optimistic outlook on life, loves his owner, Doug. Doug despises Reggie.
The young protagonist of “Blue Beetle” is the first Latino superhero in a leading role in a DC film. It’s not just token casting, either.
A month after Tom Cruise faced off with an AI supervillain comes a very “Mission: Impossible”-like international espionage thriller with an equally fancy and powerful machine.
“Red, White & Royal Blue,” a new rom-com arriving on Prime Video on Friday, is based on a popular novel by Casey McQuiston that quickly became a New York Times bestseller upon its debut in 2019 about the son of the American president and a British prince who start a secret relationship.
“The Eternal Memory” begins with a confused Augusto Góngora waking up one morning as his wife of two decades gently greets him. “Nice to meet you,” he tells her.
In 2006, a Nissan marketing executive had a truly insane idea to create a competition and an “academy” to turn gamers into race car drivers.
“Meg 2: The Trench” is a movie that screams: “Sequel! What do we do NOW?” Director Ben Wheatley’s answer is to make everything bigger, and more: More Megs.
The new film “Passages” is centered on Tomas, a German living in France with his English husband Martin who begins an affair with a French woman, Agathe.
There are some good gags and clever innovations in the animated “Teenage Mutant Ninja Turtles: Mutant Mayhem.”
Who knew so many movie ideas could be found while rummaging through your attic? This year we’ve had movies on Tetris (“Tetris”), Nike (“Air”), Blackberry (“Blackberry”) and Cheetos (“Flamin’ Hot”).
LaKeith Stanfield plays a grief-stricken astrophysicist who tries to help a single mother played by Rosario Dawson out with her haunted house in “Haunted Mansion,” based on the Disney ride.
You’ve got to hand it to the Philippou brothers. They’ve taken the old horror cliche of a severed hand and made something worth, well, applauding, says Associated Press critic Mark Kennedy.
Fire is in the air this summer, literally, and at the movies. In Christian Petzold’s “Afire,” friends descend on a family home for a working vacation, one is a writer, one is a photographer, to find a mysterious guest already in the house.
“Stephen Curry: Underrated” is a portrait of a man — the greatest three-point shooter of all time — who has felt inferior playing the game he loves since he was a scrawny kid playing on his local under-10 team.
Christopher Nolan’s “Oppenheimer” is a kinetic thing of dark, imposing beauty that quakes with the disquieting tremors of a forever rupture in the course of human history.
She’s been Astronaut Barbie, Teacher Barbie, Doctor Barbie, President Barbie. And now after 64 years, we have live-action Movie Star Barbie.
Netflix tries to capitalize on the popularity of its 2018 film “Bird Box” with “Bird Box Barcelona,” set in the Spanish city around the same time, with a new cast that does not include Sandra Bullock.
Among the low-hanging fruits of satire, sleepaway theater camps would dangle about as low as social-media influencers and Def Leppard cover bands.
Wondering if you should choose to accept the latest “Mission: Impossible” entry? Put it another way: Do you really want to disappoint Tom Cruise?
The raunch comes early and often in “Joy Ride,” from first-time director Adele Lim. But the gross-out factor is balanced by the film’s huge heart and abundant opportunities for belly laughs, writes Associated Press critic Jocelyn Noveck.
The “Insidious” franchise folds back on itself for the fifth installment, returning to its roots with the movie equivalent of getting the band back together.
The egos are as vast and thorny as the gardens on the lush estate of a prominent author in “The Lesson,” an erudite chamber piece about a master, a tutor and a family after loss starring Richard E.
We landlubbers have gotten it all wrong: Kraken aren’t terrible sea monsters who destroy our sailing ships and munch on our sailors. They’re kind and helpful.
The new documentary “Every Body” opens with footage of elaborate, often absurd “gender reveals.” But by the end of this illuminating film, viewers will be forced to confront something much deeper and more insidious: society’s need to divide humans into a binary system, and its sometimes disastrous r
Harrison Ford returns as Indiana Jones one last time in “Indiana Jones and the Dial of Destiny,” directed by James Mangold.
A powerful, shapeshifting teenage girl and a disgraced knight-in-training suspected of killing a beloved queen are at the heart of “Nimona,” a vibrant and irreverent animated adventure set in a futuristic fantasy kingdom.
In a saner world, we would have already had a dozen Jennifer Lawrence comedies. As if to make up for lost time, Lawrence has in “No Hard Feelings” made the kind of R-rated teen comedy that has usually launched young actors.
Tyler Rake was clinically dead when we last saw him at the end of “Extraction,” tumbling over a bridge in Bangladesh with a fatal, burbling bullet wound to his neck.
Pixar’s “Elemental” conjures a diverse metropolis where the elements — fire, water, earth and air — live like ethnicities mostly ghettoized from one other.
Wes Anderson returns with a sprawling cast for “Asteroid City,” a play within a play set in the midcentury American desert at a stargazer convention of kid geniuses.
The long-awaited standalone “Flash” movie has arrived. Especially in the early going it has some humor and heart, plus a compelling performance from its embattled star, Ezra Miller, who deftly inhabits two versions of their character.
With the “Transformers” franchise clearly at a crossroads, its latest protectors have turned to their deep bench of characters.
A high school gym teacher grappling with her sexual identity is challenged on both a micro and macro level in 1988 England in “ Blue Jean,” a quietly complex portrait of compartmentalization and self-actualization.
Flamin’ Hot Cheetos get an origin story worthy of any Marvel superhero with Hulu’s totally engrossing “Flamin’ Hot.”
Two minutes away, the Uber app promises at one point in “Past Lives.” And if you’re like me, you may find yourself — perhaps for the first time in your Uber-riding life — hoping that promise is a bald-faced lie.
Let’s get this upfront: “Spider-Man: Into the Spider-Verse” was the best comic-book film of the last decade.
“Reality,” a new movie starring Sydney Sweeney, is largely set in one empty room. There is nothing on the walls.
It’s not Rob Marshall’s fault that Disney’s latest live-action retread doesn’t really sing. “The Little Mermaid,” a somewhat drab undertaking with sparks of bioluminescence, suffers from the same fundamental issues that plagued “The Lion King,” “Aladdin” and “Beauty and the Beast.”
If you were to resurrect the tired storyline of a young couple having to meet their partners’ parents and were looking around for someone to play the gruff, disapproving future father-in-law, one name should definitely not pop out.
If I didn’t like Nicole Holofcener’s latest film, would I tell her?

OK, sure, it wouldn’t be so odd for a critic to give an unvarnished opinion. But what about a sibling?