In one of two new action films Noomi Rapace leads this summer, she plays seven different women — sisters — in a dystopian future in which single-child policies are stringently and violently enforced because of food-and-resource shortages (let’s be honest: global warming). This is Netflix’s What Happened to Monday. In…
Twin Peaks: The Return airs Sundays on Showtime Live long enough, and people may surprise you. The biggest pricks you grew up with — the bullies or blowhards or preening kings of the high school — grow up, too. Sometimes they even turn out all right. Sometimes they’re even stung,…
Here’s what you didn’t see if you aren’t from there. Here are the voices you didn’t hear if you didn’t go there. Here’s the pain you can’t fully comprehend if you’re white, as I am, if you’re just watching on TV, if life has taught you that just saying sir…
The original French title of Belgian director Joachim Lafosse’s latest domestic drama is L’economie du couple, which translates (awkwardly) as “The Economy of the Couple.” It’s understandable that a U.S. distributor would opt instead for the rather nondescript and bland After Love — who the hell wants to see a…
Aubrey Plaza is a national treasure, but the movies still haven’t figured out what to do with her. Ingrid Goes West comes close, though, with its twisted, of-the-moment tale of an Instagram stalker who infiltrates the personal life of a social media celebrity. But for all its many virtues, it…
In Columbus, architecture takes the place of emotions, to sometimes startling effect. An outwardly chilly, resolutely static film that nevertheless finds poignancy in the most surprising places, Kogonada’s directorial debut does a couple of important things so well that I can’t help but forgive the things it doesn’t. (Kogonada, by…
Once more, into the brie — or, in this case, the Manchego. For the third time, now, for Steve Coogan and Rob Brydon, it’s the feast as improv proving ground, the sumptuous meal as arena of competitive discernment: Who can better parse and parody the particularities of some beloved British…
“Document Ed,” a nonfiction film in production, will tell the story of Jeanette Vizguerra, who entered the First Baptist Church of Denver in February of 2017, seeking sanctuary from Immigration and Customs Enforcement.
The Defenders premieres on Netflix on Aug. 18 Look, you don’t need to have watched Iron Fist to enjoy the brisk, brawling silliness of The Defenders, a team-up adventure that’s something like a surprising return on an investment you thought had soured. In fact, not knowing all the plot details…
Whitney: Can I Be Me premieres on Aug. 25 on Showtime In the February 2016 issue of ESPN The Magazine, Danyel Smith penned a powerful essay on Whitney Houston’s chill-inducing rendition of “The Star-Spangled Banner” at Super Bowl XXV, perhaps the pinnacle of national anthem performances. Smith frames Houston as…
In Steven Soderbergh’s hillbilly heist comedy Logan Lucky, the West Virginia prison where vault specialist Joe Bang (Daniel Craig) resides is pristine and peaceful. This is a high-security facility in a seemingly alternate world, a jail without racial tensions where the prisoners feast on edible food. While only a small…
Here’s what Patrick Hughes’ The Hitman’s Bodyguard has going for it: It’s exactly the movie it promises to be, but more so. It’s more wild, more hilarious, more giddily irresponsible — it’s the hard R action comedy that kids sneaking into it might imagine it’s going to be, minus ’70s…
On a crowded Brooklyn street, an Orthodox Jew adjusts his yarmulke, a tefillin bag under his arm. He speaks on a smartphone and practically struts. The man, as dandified as one can look in a black suit and a white shirt, is a red herring in Menashe. Several other Brooklynites,…
In the 1980s, four-quadrant studio comedies (i.e. for the whole family) peddled in relentlessly dark premises that directors then brightened up with wholesomeness: Three Men and a Baby features an orphaned infant who is mistakenly given away to drug dealers; Ghostbusters boasts multiple fatalities at the hands of an accountant…
There is a better, more touching movie hidden somewhere inside The Only Living Boy in New York, and you can often see it creeping in around the edges. It’s not to be found in the somewhat empty coming-of-age narrative at the film’s center, which follows Thomas (Callum Turner), a precocious,…
Taylor Sheridan isn’t afraid to embrace genre. His Wind River plays more like an unusually well-made episode of CSI: Wyoming than the highly anticipated directorial effort from the screenwriter of Hell or High Water (which may well have been last year’s best-written film). Set in the desolate, snow-covered Wind River…
The dictates of Hollywood screenwriting can’t quite constrain the wildness of Jeannette Walls’ family and her best-selling memoir. Despite a tidy resolution, too many scenes whose shapes are immediately familiar from other movies, and an absurd climax that dramatizes the conflict between a daughter and her father through the wheezy…
Rick and Morty airs on Cartoon Network’s Adult Swim Here’s a great joke. An unhappy married couple get the chance to view, through the goggles of a dimension-hopping mad scientist, how their lives have played out in an alternate reality. The husband, an insecure drip, goes first. Turns out in…
Comrade Detective premieres August 4 on Amazon Prime. Castlevania streams on Netflix. Only slowly does it become clear that Comrade Detective, a star-driven meta-prank cop-show curio, isn’t supposed to suck. This fact hit me early in the second episode, a full hour into this squirmiest of prestige streaming series, when…
Icarus premieres August 4 on Netflix. Give Putin this: The man knows how to deny his government’s elaborate, outrageous conspiracies violating international laws and norms. To this day, despite the 37 medals that have been stripped from his nation’s Olympians, Putin insists that Russia never engaged in a longrunning campaign…
The Sie FilmCenter is hosting a twenty-film retrospective of Pedro Almodóvar, the brazenly independent filmmaker who has defined Spanish cinema in the post-Franco era and managed to keep his hands unsullied by the Hollywood machine.
I sincerely hope that there’s a five-hour cut of Kathryn Bigelow’s Detroit somewhere, a version with cleaner through-lines, deeper characterizations and a more organic narrative. But the version that we have right now — a messy, troubling beast clocking in at around 150 minutes — is riveting in its own…
