Emily Zemler

A free-wheeling ride through the best of the actor’s filmography.

The Northman is a big-budget epic, but it retains those indie roots, with Eggers bringing in all of the elements that have made his past films so aesthetically successful.

There’s plenty of magic in Fantastic Beasts: The Secrets of Dumbledore, but viewers will need a summoning spell to conjure up a tangible plot.

This movie is as lifeless as the bodies Morbius drains and throws on the floor.

Written and directed by Daniel Kwan and Daniel Scheinert, collectively known as Daniels, the movie is an explosion of creative weirdness that is equal parts exhilarating and overwhelming.

It’s a movie that relies on the sort of nuance Rylance has mastered, and he unfolds the layers of his character, Leonard, with the same precision that goes into crafting a custom suit.

It’s not exactly a dull watch—two hours pass quickly—but it’s a purposeless one. Everyone involved, especially the puppy, deserved better.

Still, for all its adventure and flash, The Adam Project welcomes feelings. Levy doesn’t shy away from heart-warming, tear-jerker scenes, just like those beloved films of the late ‘80s and early ‘90s.

This is a deeply personal film, which may feel unexpected in a Pixar movie. But the pains of growing up and feeling stuck between youthful adventure and the tradition of your family are resonant for any viewer, regardless of their own experience with puberty.

After Yang is a beautiful film, both in how it looks and in what it evokes.

Originally planned as a vehicle for Ben Affleck’s bland Batman, Reeves’ version hits left of center, offering a vision of the character not yet explored on film.

In the same way F9 made no sense but was mostly fun to watch, Uncharted sometimes finds real moments of fast-paced entertainment. It moves quickly and it’s a good diversion, even with the drag of Wahlberg.

It’s mildly entertaining with a likeable cast. And when it ends, it’s a relationship you’ll move on from quickly.

There’s an old-fashioned panache to the film that just works, offering viewers an undeniably enjoyable journey.

The Worst Person in the World is a poignant reminder there is beauty in that uncertainty if we can only accept it.

Ford isn’t interested in a slick, high-speed thriller, and the action in Emily the Criminal feels grounded in reality. Plaza, whose dramatic presence is as compelling as her comedic skill, imbues the character with genuine vulnerability alongside her grit.

This is Gyllenhaal’s directorial debut, and in her capable hands the story is purposefully hazy, unfolding in both present day and disjointed flashbacks, opening space for the audience to question the behavior of these characters and the societal pressures driving their actions.