Film, TV & Streaming

Told through the unique lens of this Latinx family, Vida is a statement on upward mobility and the privilege of being able to outgrow your home

The House of Tomorrow sticks to a time-tested coming-of-age template that’s as common in the indie world as the superhero origin story is in the studio world

The problem with I Feel Pretty isn’t that it’s offensive but that it’s often plodding and unfunny, almost as if its creators are afraid to have too much fun with such a loaded premise

The new season finds Maeve (Thandie Newton), the host who played madam to Westworld’s bevy of robot whores, scouring the park for the daughter she was given in a previous “narrative” … and who continues to haunt her dreams

Equal parts spooky and cheeky, this film nails its black humor and finds a bizarre but satisfying conclusion to manage all the loose ends

The film opens with a dreary series of fake-outs and fantasies, culminating in a gunfight and car chase that suggest Broken Lizard would rather be making a different kind of movie

And this year’s movies are…

(Joaquin) Phoenix plays a hammer-wielding veteran who is paid to save kidnapped children and who brings all his rage and regret and self-loathing and desire for oblivion to the job

For the young cowboys at the heart of Zhao’s film, mounting a horse and galloping across a field represents more than just freedom — it becomes a communion with the past and the future, allowing these riders to imagine and inhabit their best selves

It centers on Villanelle, a deranged assassin — Russian, of course — working on behalf of a shadowy organization, and Eve Polastri (Sandra Oh), the British-born, American-raised MI5 officer who must track her from London to Paris to Moscow

… You Were Never Really Here follows the disjointed, tormented inner journey of Joe (Joaquin Phoenix), a former soldier and law enforcement official who now works as a kind of hammer-wielding vigilante-for-hire, finding missing people (usually, it seems, kids)

Fresh ideas are rare in the horror game, so it’s not surprising that Truth or Dare quickly devolves into a riff on the Final Destination films, which had Death wittily and methodically hunting those it failed to nab in plane crashes and other disasters

… This is a movie where everyone in Johnson’s radius accuses his character of hating humanity, when the actor himself can’t help ingratiating himself to everything …

The film — which is nowhere near as interesting as LaBeouf’s performance — is hopelessly reductive about its subjects’ psychology even as it mocks the press of 1980 for being reductive about its subjects’ psychology

Brad Anderson’s talky-smartish thriller Beirut, like the first half of Million Dollar Arm, sets Hamm’s sharpie loose in a country — in this case a fractious Lebanon — where the rules aren’t his

The mode is comic frustration, the story centered on a reasonable man (played by Armie Hammer) frustrated at the eccentricities of a wild-haired genius (Geoffrey Rush, as the painter Alberto Giacometti)

Working from a novel by Willy Vlautin, Haigh has committed himself to making a boy-and-his-horse movie that’s scraped free of everything false or sentimental about the genre

… What makes O.G. so fresh and appealing is how, while it’s a laugh riot, the characters are both written and portrayed as grounded, fully realized folk

Lost in Space is nearly Steven Spielberg airy, telling the story of a super-smart family selected to populate a Utopian space colony but who get lost somewhere along the way

Though written by two men, Blockers smartly confronts the gendered double standards that have littered the genre for generations, as well as homophobia and other vehicles for predictable jokes

Curran’s film, often enthralling and upsetting, represents a welcome break in the hagiographic treatment the longtime Lion of the Senate enjoyed in the years leading up to his 2009 death