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New Releases
'The Iron Claw' would be tragic overkill if it wasn't true
'Ferrari' is masterful pop filmmaking
'Maestro' is technically dazzling nothingness
'Fallen Leaves' is a muted masterpiece
'The Delinquents' is a refreshing, political, subversive heist film
'Saltburn' is shocking… shockingly bad
'Napoleon' is a sterile bore
'The Killer' is David Fincher's confessional
'Priscilla' is Sofia Coppola's best film in years
'The Holdovers' is an absolute delight
'Strange Way of Life' is emotionally potent and narratively unsatisfying
'Killers of the Flower Moon' is deeply moving and structurally messy
Wes Anderson's collection of Roald Dahl shorts are cute formal experiments
'El Conde' is a commendable big swing, but a mixed bag
'The History of the Minnesota Vikings' is more comprehensive than the team deserves
'Bottoms' is an unfunny disappointment
'Passages''s biggest problems are hype and expectations
'The Adults' is a poignant film about the cathartic nature of performance
'Talk to Me' buries its best moments under dull conventionality
'Theater Camp' is a standard Sundance crowd-pleaser, for better and worse
'Barbie''s overdone ideas and status as corporate product overwhelm its fun kitsch
'Oppenheimer' is as much about making art as it is about making the bomb
'Mission: Impossible — Dead Reckoning Part One' doesn't reinvent the wheel but remains thrilling
'Past Lives' shows nothing is ever over, even if you think it is
'Indiana Jones and the Dial of Destiny' is nothing without Steven Spielberg
'Asteroid City' is Wes Anderson asking for your trust
'Elemental' sells kids short by playing it too safe
'A Thousand and One' stumbles when it goes too big
'Spider-Man: Across the Spider-Verse' puts the entire superhero genre to shame
'The Little Mermaid' is devoid of life, imagination, and artistry
'Master Gardener' stumbles through its messy racial dynamics
'BlackBerry' is a warning to the film industry
