I get why The Brutalist might be a tough pitch for a wide audience. Despite snagging a Golden Globe for Best Drama and landing a spot on the Oscars shortlist, it doesn’t exactly scream “crowd-pleaser.” When I invited a friend to join me for a screening, his first question—
I’ll watch almost anything starring Amy Adams. She’s not just one of the most talented actors of her generation—she’s also someone who consistently takes on challenging, left-of-center roles. For every mainstream blockbuster like Enchanted or Man of Steel, there’s an Arrival, a Nocturnal Animals. She’
Robert Eggers’ Nosferatu arrived in theaters as a Christmas offering, though it’s anything but festive. What it is, however, is a nightmarish — if somewhat lengthy— triumph. This is a dark, gothic epic that feels both like a natural evolution of Eggers’ work and something wholly its own—a film
As the year’s best-of lists start rolling in, you’ve probably noticed a familiar pattern: critics name-dropping films that haven’t even hit your local theater—or anywhere accessible—yet. Films like The Brutalist and Nickel Boys are hovering just out of reach, premiering in a trickle of select
Ridley Scott returns to the world of Gladiator with the weight of expectation firmly on his shoulders. Following up an Oscar-winning epic that’s been cherished for over two decades is no small feat, but with Gladiator II, Scott crafts a rousing sequel that, while not without its flaws, delivers
My Old Ass took me by surprise in the best way possible. What starts as a low-key coming of age story quickly unfolds into something pretty unforgettable—a film that charms you when you least expect it. Released on Prime Video earlier this month, My Old Ass didn’t initially
Horror sequels are a tricky business. The best of them build on their predecessors, deepening the mythology and taking creative risks that push the story into new territory. The worst? They settle for recycling familiar beats, banking on spectacle over substance. Smile 2, sadly, falls into the latter camp. It
In a year dominated by bold, all-caps cinema—like Furiosa, Dune: Part Two, and The Substance—A Real Pain takes a different approach. It trades bombast for quiet intimacy, delivering a story that’s just as profound and emotionally resonant as its flashier counterparts, proving that subtlety can hit just
Is Heretic the movie we need right now? A thriller about a manipulative, egotistical aging creep who preys on young women and forces them to question their beliefs to the breaking point? Maybe not. But it’s here, and audiences are already paying attention. The latest from A24, Heretic premiered
Anora grabs hold with a raw, infectious energy, then plants questions that echo long after you’ve left the theater. With his latest film, writer-director Sean Baker (The Florida Project and Tangerine) spins a story that starts as an unconventional romance but veers into territory that’s way more complex—
Can I just say I absolutely love I Saw the TV Glow? But it’ll be a long time before I’m ready to watch it again. Writer-director Jane Schoenbrun’s genre-bending drama is one of the most emotionally powerful films I’ve seen all year—a viewing experience so
John Carpenter has often described his 1978 film Halloween as “a simple idea, done very well,” capturing the essence of what would become one of the most iconic horror films ever made. But as the franchise slogged through middling sequels and misguided reboots over the decades, it seemed to lose