Glenn Kenny

While Juan Salvador is a shameless exhibitionist, Coogan’s performance is understated; he conveys Tom’s softening without nudging the viewer too much.

It’s a satisfying cast all the way down.

While it’s inevitable that some, maybe many, viewers will find the dual role a distraction, those who hunger for De Niro in mobster mode will get more than their fill.

Ultimately, this is one of those movies where it seems okay if you like this sort of thing for a while, but after it crosses the 90-minute mark, it seems irretrievably a little much even if you like this sort of thing.

Lesage supplies exemplary tension and intrigue over the course of two plus hours, while at the same time suggesting to the viewer, accurately, that anything in the way of a definitive resolution is not in the cards.

The movie’s energy doesn’t pay off in dividends of real pleasure. Anarchy has never been so mere as it is ultimately rendered here.

The director remains near-merciless in his approach, never shying away from showing his vulnerable characters (and the tormentor played with twisted relish by Lithgow is, ultimately, as unprotected as any of the others) in states of utter abjection.

Harris and Murray are such reliably engaging screen presences that they provide a few glimmers of entertainment, provided you’re able to set aside the movie’s practically all-encompassing repulsiveness.

Directed by Molly Bernstein and Philip Dolin, “Art Spiegelman: Disaster Is My Muse” is a remarkably cogent and compelling presentation not just of Spiegelman’s life story but also his personality and art.

For all the elaborate weaponry, production design and (eventually) frantic action offered here, this movie crackles most as a lively pas de deux between Taylor-Joy and Teller, who commendably take their material seriously no matter how seriously ridiculous it gets.

If you’re someone who treasures the music of Led Zeppelin more than you’re interested in the legend—or the gossip, or the dirt, or whatever you want to call it—of Led Zeppelin, this movie is absolutely for you. I’m one of those people, and I ate it up.

This portrait of already wounded people who can’t stop inflicting pain on themselves and each other has a great deal of integrity. But if you’re seeking ennobling sentiment, you’ll do well to look elsewhere.

Marcello Mio, written and directed by French filmmaker Cristophe Honoré, and starring Chiara Mastroianni, Catherine Deneuve, and a host of other European artistic luminaries, is a cinema in-joke elongated beyond all reason.

While it speaks well of Nelson’s integrity as a performer that he doesn’t make much effort to render Buck as ingratiating, the result is that the character can be a bit of a drag. His affection for his wife, Margaret (Annabel Armour), shows his softer side.

This strikingly eye-filling movie, directed by Matty Brown and shot by Jeremy Snell, is deliberately low on exposition.

More than just a shaggy dog story, Grand Theft Hamlet is a pointed, entertaining and moving examination of interdisciplinary conductivity at its most surprising.

Even if you don’t care for Warren’s tunes, this movie is likely to make you a fan.

The first movies of any given year are usually among the worst. Not this one. It’s a keeper, so treat yourself to a scary New Year’s celebration.

It’s hard to settle on what’s more bombastic: Carrey’s admittedly virtuoso double act, or the teeming computer graphics gadgetry of death and destruction spilling out of every corner of the screen.

While the picture doesn’t break any new genre ground, it has several jaw-dropping set pieces, including an incredibly physical fight inside a speeding car. Collet-Serra’s staging is excellent throughout.

While "Oh, Canada" has moments of mordant humor, its ultimate mode is the elegiac.

Writer-director Mike Leigh is 81 years old, and his movies consistently have a fire that's practically adolescent while imparting a wisdom that's possibly ancient. "Hard Truths" is a tragi-comedy character study of near-febrile vitality. And, entering the sweepstakes rather late in the game, it's one of the very few great films of 2024.

Day of the Fight is an unabashed genre picture that manages to be both the kind of movie they supposedly don’t make like they used to, and also something bracingly fresh. It’s anchored by the lead actor, Michael C. Pitt, here ferocious and heart-stabbingly vulnerable in equal proportion.

Even at its relatively trim 89-minute runtime, "Armor" feels padded.

This is one of those pictures where the actors outdo the conventional material they are given to work with.

Despite Brosnan's best efforts, this is a movie with its heart in the right place and its head somewhere substantially other.

The movie manages to provide moments of witty dialogue while moving forward with its spiritual duties.

In addition to ridiculous — think the Wayans brothers’ parody pictures, or “Napoleon Dynamite” (that movie’s director, Jared Hess, is an executive producer here) — the humor is almost uniformly broad.