Drama
Writer/director John Patton Ford clearly wants How to Make a Killing live in ambiguity, and his ability to hold us in this uncomfortable space for the film’s running time is a singular, delicious feat.
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Scarlett Johansson finds the brilliance of humanity in all of her characters—even in the ancillary folks offering a few lines or two—and layers it deeply within Eleanor the Great.
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Justin Tipping’s Him is, at its very core, a film about how childhood dreams turn into adult nightmares… or not.
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F1 has a terrific likability to it that papers over the fact that this is a near-carbon copy of director Joseph Kosinski’s Top Gun: Maverick.
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Danny Boyle’s return to the 28 Days Later series swings more toward the pensive by going into more dramatic, personal territory with 28 Years Later.
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Writer/director/actor Edward Burns seems to have a predilection for putting infidelity and broken families at the center of his films. The formula: Throw in a few siblings having hard luck with their relationships or marriages and watch what happens. For 30 years, from 1995’s The Brothers McMullen to 2025’s Millers in Marriage, the only things […]
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The legendary and ever-personal Pedro Almodóvar makes his English-language debut after 44 years of feature filmmaking with The Room Next Door, a story almost tailor-made for him. His films have a distinctive way of presenting facets of life from a different perspective, and this film has the bonus of having a two-hander cast of Tilda […]
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First loves. The thrill of being attracted to someone who is, in turn, attracted to you. The electricity of touch. Getting lost in long looks. The magic of the world looking different when you’re with each other. The strength you get when you feel their presence. The pinpricking of loss when they’re not around. The […]
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(If you’re looking for the 2025 animated film Dog Man, click here.) The best that can be said about Luc Besson’s Dogman is that it keeps your attention. Starting in medias res and looping back from past to present, at least there’s enough there to make you want to see what happens next. Now, whether you […]
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Where does the horror lie in Tereza Nvotová’s Nightsiren? Is it in the supposed curse that has followed Šarlota (Natalia Germani) from her childhood to the present day? Or is it embodied in the inhabitants of her secluded town to which she’s returned after a twenty-year absence? Is it the witch rumored to live in […]
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