Alison Willmore

Nothing about the film is especially coherent, including its simultaneous status as a piece of art, a gesture of religious conviction, and a shameless act of commerce. It feels like notes from an artist who’s not sure if he wants to express himself as a worshiper or an object of worship — but who’s prepared to give it a try anyhow, on the biggest screen possible.

Saltburn’s seductive imagery outweighs its obvious attempts at provocation. And while it does end up making being rich look pretty sweet, that’s not exactly a revelation worth hanging a whole movie on.

If the results are mixed, it’s because the movie devotes more thought to putting distance between itself and Suicide Squad than to imagining what an independent version of the character is actually like.

It is an unabashed platform for basking in the rapport of its two leading men, who are in familiar and fine form as a pair of hypercompetent cleaners, and that makes it a consistently enjoyable watch even when the pacing gets a little slack.

While the movie feels empty and pointless overall, it’s not without its scattered interesting elements.

Stillwater is the new movie from director Tom McCarthy, and it feels like one he’s spent his career preparing for — an enthralling, exasperating, and, above all else, ambitious affair that doesn’t soften or demand sympathy for its difficult main character but does insist on according him his full humanity.

Gaga is wildly watchable in the role, broad but unwinking, an absolute scream, and the movie only really makes sense when it’s about her.

While Ballerina doesn’t start off as a real John Wick movie, it sure ends as one.

Ready or Not 2 moves at a decent clip and is generally entertaining, but there’s something deflatingly lazy about its slate of rich assholes, which is heavy on standard-issue entitled daughters and smug failsons who treat the staff like props.