‘How to Rob a Bank’ Leads a Hollow Revolution
The social media heist thriller from 'Atomic Blonde' director David Leitch is all bark and no bite
Latest
'Wild Horse Nine' Is Martin McDonagh's Most Overtly Political Film to Date. It's Also His Bleakest, and Best.
Stephen David Miller reviews Martin McDonagh's latest. Plus: David shares a few thoughts on 'Godzilla Minus One.'
‘Clayface’ Is Only Skin Deep
The DCU’s new body horror experiment avoids the lows of ‘Morbius’ but also the highs of ‘Wonder Man’
In ‘Wildwood,’ Everything Is Immaculately Detailed Except the Characters
The level of craftsmanship in Laika’s latest stop-motion feature is astounding, but it can’t suffice for an underwhelming protagonist.
‘You Can See Everything’s’ Secret Weapon Isn’t Anywhere in the Trailers
Digging into the film’s second half and the ethical questions it purposefully creates.
‘Whalefall’ Offers Juicy Survival Thrills but Chokes on Attempts at Pathos
Maybe not everything needs to be about trauma.
‘You Can See Everything’ Is One of the Best Documentaries of All Time
Far more than a story about Elizabeth Holmes, the movie sets us inside a room of funhouse mirrors and sends the audience on a dizzying ride.
‘The Social Reckoning’ Confronts the Chaos of the 2020s in Chilling Fashion
Though no match for David Fincher’s original, even mid-tier Aaron Sorkin is still watchable
‘Digger’ Devolves into Smug, Sanctimonious Satire
Tom Cruise’s broad caricature of an oilman feels like his latest stunt in Alejandro’s G. Iñárritu’s pedantic mess of a movie.
‘Avengers Endgame: Encore’ and the Comfort of Never Moving On
As the hit film returns to theaters with a few added ‘Avengers: Doomsday’ teasers, it now serves as a metaphor for the studio’s larger strategy.
‘Primetime’ Is Sleazy, Surreal, and Strangely Hollow
Robert Pattinson stars as Chris Hansen in A24’s garish examination of the 'To Catch a Predator' phenomenon
TIFF 2026 Dispatch #3: 'Club Kid', 'Possible Love', the People's Choice Awards, and other highlights
Stephen David Miller concludes his coverage of the 51st annual Toronto International Film Festival.
Film Festivals
TIFF 2026 Dispatch #2: 'Ink,' 'Elsinore,' and 'Wild Horse Nine'
Stephen David Miller continues his coverage of the 51st annual Toronto International Film Festival.
Movie Reviews
‘Resident Evil’: Finally, a Great Video Game Movie for People Who Suck at Video Games
Rather than get hung up on lore, Zach Cregger’s adaptation leans into the thrill of playing the long-running survival horror series.
Film Festivals
TIFF 2026 Dispatch #1: 'The Debut,' 'Your Mother Your Mother,' 'Being Heumann,' and 'Tangles'
Stephen David Miller kicks off his coverage of the 51st annual Toronto International Film Festival.
Movie Reviews
‘The Uprising’ Awkwardly Weds Paul Greengrass’ Documentary Style with Tired Medieval Drama
Greengrass’ handheld approach pulls us further away from historical realism.
‘Onslaught’ Is Pure Retro Mayhem
The grindhouse throwback evokes 1980s action classics without quite recapturing their magic
Movie Reviews
In ‘The Dog Stars,’ Ridley Scott Only Scratches Surface of a Post-Apocalyptic America
The muddled drama never seems fully certain about its ideas on American identity.
Movie Reviews
‘Tony’ Excels by Looking at the Man, not the Myth
The story of a young Anthony Bourdain is a rich coming-of-age tale that doesn’t care for standard biopic tropes.
Commentary
Five Lessons from the 2026 Summer Movie Season
What did we learn from the hits and misses at the theater?
Movie Reviews
‘Coyote vs. Acme’ Is a Charming, Funny Reminder That You Can’t Stop an Irrepressible Toon
Matt Goldberg reviews 'Coyote vs. Acme.' Plus: Caroline Siede assesses the charms of 'The Wrong Girls'
Movie Reviews
Hollywood Forgot How to Make Movies Like 'The End of Oak Street'
David Robert Mitchell’s movie sends us back not only to the time of dinosaurs, but to the age of Amblin.
Movie Reviews
‘One Night Only’ Nails Its Satire More Than Its Romance
Monica Barbaro and Callum Turner charm on the one night a year single people can legally have sex
Forget IMAX. 'The Odyssey' is Best Enjoyed in 4DX
How does Nolan’s latest epic work in the rollercoaster film format?