Manohla Dargis

Select another critic »
L.A. Weekly, Los Angeles Times, The New York Times
For 2,344 reviews, this critic has graded:
  • 46% higher than the average critic
  • 3% same as the average critic
  • 51% lower than the average critic
On average, this critic grades 2.3 points lower than other critics. (0-100 point scale)

Manohla Dargis' Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 The Fits
Lowest review score: 0 Lolita
Score distribution:
  1. Positive: 1,182 out of 2344
  2. Mixed: 893 out of 2344
  3. Negative: 269 out of 2344
2344 movie reviews
view
per page
    • 64 Metascore
    • 70 Manohla Dargis
    Bombshell
    Part of what works in the movie is that it does a good job of presenting the ordinary assaults that women, even those with great privilege, can endure simply to get through a day, including dehumanizing “compliments.”
    • 82 Metascore
    • 50 Manohla Dargis
    Knives Out
    Johnson’s own sleight of hand is estimable, even if his effort to add politics into the crowded mix rings hollow. The machine is what matters here, and he has clearly had such a good time engineering it that it’s hard not to feel bad when you don’t laugh along with him.
    • 89 Metascore
    • 90 Manohla Dargis
    63 Up
    There’s great pleasure in revisiting this series, seeing who turned out just fine and sometimes better than you might have expected or hoped.
    • 64 Metascore
    • 60 Manohla Dargis
    Frozen II
    The ensuing adventure is lively, amusing and predictably predictable with revelations, reconciliations and some nebulous politics for the grown-ups. It’s never surprising, yet its bursts of pictorial imagination — snowflakes that streak like shooting stars — keep you engaged, as do Elsa and Anna, who still aren’t waiting for life to happen.
    • 73 Metascore
    • 60 Manohla Dargis
    Dark Waters
    You do feel Haynes’s touch now and again, particularly in the sense of menace that seeps into a crepuscular law office and in the everyday eeriness that suffuses outwardly ordinary homes that are anything but normal.
    • 80 Metascore
    • 90 Manohla Dargis
    Waves
    All of Shults’s stylistic brio and formal inventiveness is finally in the service of a story about love, its mutability and fragility.
    • 52 Metascore
    • 30 Manohla Dargis
    Charlie's Angels
    Banks wants to fight a righteous fight. But she is selling stale goods in which adult women spout girl-power clichés and conform to norms that make it very clear what kind of heroines still get to fly high: young, thin, beautiful, perfectly coifed, impeccably manicured and profoundly unthreatening.
    • 50 Metascore
    • 40 Manohla Dargis
    Last Christmas
    Feig is an adroit director of comedy and he gives Last Christmas some fizz now and again. But he’s stymied by the romance and the gimmick, and the pairing of Clarke and Golding proves an impossible hurdle, making even the seemingly simplest moments — an intimate walk, a heartfelt talk — feel badly labored.
    • 76 Metascore
    • 70 Manohla Dargis
    The Kingmaker
    It’s an ugly story shrewdly told, with a sense of humor and also a deeper feeling for history.
    • 84 Metascore
    • 100 Manohla Dargis
    Synonyms
    Furious, brilliant, exhausting, Synonyms is the story of a man in self-imposed exile.
    • 49 Metascore
    • 50 Manohla Dargis
    Paradise Hills
    Despite her shaky handle on the movie’s ideas and the appealing if uneven performances, Waddington holds your attention with visual beauty and humor.
    • 43 Metascore
    • 30 Manohla Dargis
    Maleficent: Mistress of Evil
    You don’t wait long to be disappointed.
    • 83 Metascore
    • 80 Manohla Dargis
    The Lighthouse
    Eggers meticulously sets the scene, adds texture and builds tension and mystery from men locked in battle and sometimes in embrace. He has created a story about an age-old struggle, one that is most satisfyingly expressed in this film’s own tussle between genre and its deviations.
    • 97 Metascore
    • 100 Manohla Dargis
    Parasite
    Bong’s command of the medium is thrilling. He likes to move the camera, sometimes just to nudge your attention from where you think it should be, but always in concert with his restlessly inventive staging.
    • 62 Metascore
    • 50 Manohla Dargis
    The King
    What Michôd never manages to make clear is what we are to make of this version’s nationalism, its glorification of war, its ambivalence toward corrupting power and its selective, finally misguided attempt to brush off Shakespeare.
    • 87 Metascore
    • 100 Manohla Dargis
    Pain and Glory
    A great deal happens in Pain and Glory, just not ritualistically and not at top volume. Its agonies are tempered, its regrets hushed, its restraint powerful.
    • 36 Metascore
    • 20 Manohla Dargis
    Lucy in the Sky
    It’s a dispiriting mess and waste of talent, sunk by a lack of focus, misguided choices and insistently unproductive, at times incoherent clashing tones.
    • 66 Metascore
    • 50 Manohla Dargis
    Judy
    Mostly, Judy offers the familiar spectacle of one star playing another. Zellweger’s performance is credible, with agitated flutters and filigreed touches, though it leans hard on Judy’s tremulous fragility, as if she were a panicked hummingbird. The take is also cautious, too comfortable; it never makes you flinch or look away.
    • 80 Metascore
    • 80 Manohla Dargis
    Ad Astra
    Ad Astra is unambiguously a film of its moment, one about a man’s struggle for personal meaning and a place in the world in a time of fallen fathers.
    • 79 Metascore
    • 70 Manohla Dargis
    Midnight Traveler
    What largely distinguishes Midnight Traveler is its anxious intimacy, a sense of uneasy closeness that pulls you into a family circle that at times gets very small, creating a sense of appropriate claustrophobia.
    • 74 Metascore
    • 60 Manohla Dargis
    Raise Hell: The Life & Times of Molly Ivins
    While cuddling up to the adored one is a familiar biographical tactic, some critical distance might have made for a deeper, stronger movie.
    • tbd Metascore
    • 30 Manohla Dargis
    Ága
    The movie’s truth is presumably meant to rest in its emotions, in the spilled tears of its characters, but the only things at stake here are the cozy sniffles of the art-film patron.
    • 49 Metascore
    • 60 Manohla Dargis
    Don't Let Go
    You get lost in its thickets because Estes hasn’t wholly figured out how to make toying with time work. But he has a fine cast and a good sense of place, including a feel for the spookiness of emptied-out spaces, and he makes his conspicuously low budget work for the near-claustrophobic intimacy.
    • 63 Metascore
    • 50 Manohla Dargis
    Official Secrets
    The director Gavin Hood, who wrote the script with Sara Bernstein and Gregory Bernstein, fits the pieces together coherently, no small thing given the complications. But the characters are malnourished and Hood’s attempts to build suspense often fall flat because he leans hard on genre conventions, on dark shadows, ominous music and abrupt sounds straight from a horror flick.
    • 82 Metascore
    • 100 Manohla Dargis
    Give Me Liberty
    Give Me Liberty is a jolt of a movie, at once kinetic and controlled. It’s an anarchic deadpan comedy that evolves into a romance just around the time the story explodes. It has moments of unembellished realism as well as a fictional story line that runs through the bedlam.
    • 86 Metascore
    • 100 Manohla Dargis
    American Factory
    Complex, stirring, timely and beautifully shaped.
    • 51 Metascore
    • 60 Manohla Dargis
    Where'd You Go, Bernadette
    Amusing and sleepy pretty much describe this movie.
    • 85 Metascore
    • 100 Manohla Dargis
    One Child Nation
    Soul-baring and furious, the documentary One Child Nation takes a powerful, unflinching look at China’s present through its past.
    • 35 Metascore
    • 20 Manohla Dargis
    The Kitchen
    An offense against feminism, narrative logic and Fleetwood Mac, The Kitchen is a terrible, witless mess.
    • 76 Metascore
    • 80 Manohla Dargis
    Rojo
    Adopting a cool, oblique yet accessible approach that complements the washed-out, nicotine-stained palette, Naishtat builds a modular narrative that increasingly bristles.
    • 42 Metascore
    • 50 Manohla Dargis
    Stuber
    It’s one of those dumb movies that are so gleeful about their own idiocy that taking it seriously may seem pointless, which is always a good reason to take a movie seriously.
    • 72 Metascore
    • 60 Manohla Dargis
    Midsommar
    Despite all the time he lavishes on Dani and Christian’s relationship, which is drawn along stereotypical gendered lines (consuming female need that becomes devouring), the couple remains instructively uninteresting. That’s the case despite Pugh.
    • 60 Metascore
    • 60 Manohla Dargis
    Ophelia
    It’s an interesting exercise and, for the most part, a passably diverting one.
    • 82 Metascore
    • 80 Manohla Dargis
    Maiden
    A sleek, exhilarating documentary.
    • 63 Metascore
    • 60 Manohla Dargis
    Endzeit - Ever After
    Once Vivi and Eva are forced off the train and start wandering the countryside, the forest seems to fold its arms around them, and Endzeit modestly deepens into beguiling mystery.
    • 84 Metascore
    • 70 Manohla Dargis
    Toy Story 4
    In other words, the movie is exactly what you expect — not more, not less — from an estimably well-oiled machine like Pixar.
    • 38 Metascore
    • 40 Manohla Dargis
    Men in Black: International
    F. Gary Gray can be a fine action director and sometimes better than fine, but the scenes that should pop and pow — given the squealing tires, bared knuckles and laser beams — consistently fall flat.
    • 87 Metascore
    • 100 Manohla Dargis
    Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese
    Dylan was interested in how movies stop time, but he also told Ginsberg that he wanted “to be entertained,” adding, “If I see a movie that really moves me around I’m totally astounded.” To watch Rolling Thunder Revue is to understand what he meant.
    • 82 Metascore
    • 100 Manohla Dargis
    The Last Black Man in San Francisco
    Mostly, the movie has a cascade of images and ideas, reference points and glimpses of everyday beauty that flow and swirl and, over time, gather tremendous force.
    • 43 Metascore
    • 50 Manohla Dargis
    Dark Phoenix
    Kinberg does better when he goes big, which suits this franchise delivery system. For the most part he just moves characters from point A to B, pausing for face-to-face heart to hearts before the next blowout. But the mayhem is generally coherent and executed with clean, crisp special effects, even if Kinberg settles for slo-mo clichés.
    • 57 Metascore
    • 90 Manohla Dargis
    Charlie Says
    It’s a tough, difficult story that, anchored by Guinevere Turner’s script, Harron recounts with lucid calm, compassion and intelligent interpretive license.
    • 56 Metascore
    • 50 Manohla Dargis
    Wine Country
    The comedy is situational and confessional, the flat one-liners mixed in with more memorable physical comedy. The scripted lines rarely zing, sing or sting (some seem improvised), but when the performers fall down or screw up their faces, you get to watch them fill in their characters with something like real feeling.
    • 67 Metascore
    • 90 Manohla Dargis
    Long Shot
    Long Shot isn’t going to save the romantic comedy, but it’s an adrenaline shot of pure pleasure to the genre’s failing heart.
    • 80 Metascore
    • 90 Manohla Dargis
    Knock Down the House
    Exuberant.
    • 55 Metascore
    • 70 Manohla Dargis
    J.T. Leroy
    Anchored by its two excellent leads, the movie is sympathetic and, for the most part, unsentimental.
    • 61 Metascore
    • 50 Manohla Dargis
    The White Crow
    The problem is that while there are dance performances scattered throughout The White Crow, as well as interludes with a sweaty Rudy practicing and striving, the offstage scenes tend to feel like filler, the bits stuck between the barre and the theater.
    • 41 Metascore
    • 70 Manohla Dargis
    The Curse of La Llorona
    The scares are plentiful and sometimes ticklishly funny in The Curse of La Llorona, an enjoyably old-fashioned ghost story.
    • 74 Metascore
    • 60 Manohla Dargis
    Little Woods
    DaCosta is better at setting scenes than digging into them.
    • 71 Metascore
    • 60 Manohla Dargis
    Dogman
    Social realism in a symbolist key, Dogman is at times more pleasurable to look at than to experience.
    • 54 Metascore
    • 60 Manohla Dargis
    Stockholm
    Drowsy in feel and muted in color, Stockholm is lightly amusing and watchable — mostly thanks to Hawke — but never makes the case that this is a story that needed to be told, with or without laughs.
    • 78 Metascore
    • 50 Manohla Dargis
    High Life
    Too often the ideas here, visual and otherwise, feel haphazard — outer and inner space, Pattinson’s head, sexual taboo, apocalypse now or maybe then — more like material for a vision board than a fully realized vision.
    • 71 Metascore
    • 70 Manohla Dargis
    Shazam!
    It’s a nice change of pace for a big-screen mega-comic, if not a revolutionary shift.
    • 68 Metascore
    • 70 Manohla Dargis
    A Vigilante
    Daggar-Nickson gestures in certain directions, but for the most part she avoids deeper, troubling questions about retribution and violence. Instead, she concentrates on the genre basics, as in the movie’s admirably hard-core final face-off.
    • 51 Metascore
    • 80 Manohla Dargis
    Dumbo
    Ho-hum until it takes a turn toward the fascinatingly weird, the movie is a welcome declaration of artistic independence for Burton...Watching him cut loose (more recklessly than his flying baby elephant) is by far the most unexpected pleasure of this movie, which dusts off the 1941 animated charmer with exhilaratingly demented spirit.
    • 81 Metascore
    • 90 Manohla Dargis
    Us
    A vibrant, appealing screen presence, Nyong’o brings a tremendous range and depth of feeling to both characters, who she individualizes with such clarity and lapidary detail that they aren’t just distinct beings; they feel as if they were being inhabited by different actors.
    • 60 Metascore
    • 50 Manohla Dargis
    Dragged Across Concrete
    The movie is generally watchable, even at its slowest and ugliest, simply because the actors are solid even when their characters are repellent.
    • 77 Metascore
    • 70 Manohla Dargis
    The Mustang
    The Mustang is direct and almost perilously familiar — it draws from both westerns and prison movies — yet it is also attractively filigreed with surprising faces, unusual genre notes and luminous, evanescent beauty.
    • 78 Metascore
    • 90 Manohla Dargis
    3 Faces
    An immersive, pleasurably intelligent movie, one that weds documentary naturalism and melodramatic excess with formalist rigor.
    • 78 Metascore
    • 90 Manohla Dargis
    Gloria Bell
    As a performer, Moore can go big, and a terrible yowl here pierces the heart. But she’s a virtuoso of restraint. She shows you the rush of emotions just before they break the surface, so the hurt and confusion flicker on her face like minute shifts of light.
    • 61 Metascore
    • 60 Manohla Dargis
    Triple Frontier
    Chandor handles the action scenes smoothly, making it easy to gloss over what the movie is saying, trying to say or accidentally saying. He maintains the kind of accelerated pace that gives your eyes a workout, and pads the story with an inviting camaraderie that brings you into the group.
    • 82 Metascore
    • 100 Manohla Dargis
    Transit
    By turns intimate and expansive, Transit is a thrilling, at times harrowing labyrinth of a movie.
    • 78 Metascore
    • 80 Manohla Dargis
    Styx
    A taut moral thriller, Styx is a story of what happens when self-reliance runs into other people’s desperation.
    • 68 Metascore
    • 80 Manohla Dargis
    Fighting with My Family
    Like its amiable, irresistible ménage, Fighting With My Family softens its rougher edges with humor. It’s often broadly funny but never mean or patronizing; it takes the Knights, their eccentricities and quixotic aspirations seriously, but not enough to squelch the fun.
    • 53 Metascore
    • 30 Manohla Dargis
    Alita: Battle Angel
    A pileup of clichés in service to technological whiz-bangery, “Alita” is one more story of the not quite human brought to life with hubris and bleeding-edge science.
    • 48 Metascore
    • 30 Manohla Dargis
    Lords of Chaos
    Akerlund, a veteran music-video director who intersperses Lords of Chaos with mildly surrealistic bursts, never establishes a coherent or interesting point of view. The tone unproductively veers from the goofy to the creepy, which creates a sense that he was still figuring it out in the editing.
    • 65 Metascore
    • 50 Manohla Dargis
    The LEGO Movie 2: The Second Part
    The Lego Movie 2: The Second Part isn’t as distractingly fun, shiny and bright as the more satisfying franchise installments. It drags and sometimes bores, which makes it easier for your mind to drift elsewhere.
    • 43 Metascore
    • 50 Manohla Dargis
    Glass
    Shyamalan’s talent for primitive scares remains intact in Glass, as does his love for cramming a whole lot of story in one feature.
    • 28 Metascore
    • 30 Manohla Dargis
    The Aspern Papers
    Too bad that the best that can be said about the woeful movie version of the The Aspern Papers, based on the Henry James novella, is that it might send you running to the original.
    • 62 Metascore
    • 80 Manohla Dargis
    Destroyer
    Kusama is still figuring out how to balance form and pulp, but she has a singular unapologetic idea about what women can and cannot do onscreen, one she lets rip with verve and her superbly unbound star.
    • 90 Metascore
    • 90 Manohla Dargis
    Cold War
    The movie is filled with ordinary and surprising beauty, with gleaming and richly textured surfaces, and the kind of velvety black chiaroscuro you can get lost in. Its greatest strengths, though, are its two knockout leads, who give the story its heat, its flesh and its heartbreak.
    • 66 Metascore
    • 50 Manohla Dargis
    Mary Poppins Returns
    What’s odd here is how closely the new movie follows the original’s arc without ever capturing its bliss or tapping into its touching delicacy of feeling.
    • 58 Metascore
    • 50 Manohla Dargis
    The Mule
    The story shifts and lumbers toward redemption that Earl doesn’t earn and that sentimentalizes a movie that is never especially good and often teasingly offensive but also fitfully entertaining and willfully perverse.
    • 87 Metascore
    • 80 Manohla Dargis
    If Beale Street Could Talk
    When Jenkins is true to himself, he soars; he stumbles, though, when he’s overly faithful to the novel or doesn’t trust the audience.
    • 67 Metascore
    • 90 Manohla Dargis
    Vox Lux
    Vox Lux is an audacious story about a survivor who becomes a star, and a deeply satisfying, narratively ambitious jolt of a movie.
    • 53 Metascore
    • 50 Manohla Dargis
    Dumplin'
    Kristin Hahn’s script gives Will sassy lines and too many tears, but the filmmakers never give this character a real, searching, complex inner life. They give her problems to solve, hurdles to clear. They turn emotional complexity into affirmations and a potentially transformational character into a you-go-girl cliché.
    • 63 Metascore
    • 40 Manohla Dargis
    Anna and the Apocalypse
    Anna and the Apocalypse is more sketch than developed movie. Directed by John McPhail from a script by McHenry and Alan McDonald, the movie is thinly plotted, its pacing slack, its staging uninspired; Anna remains merely an idea for a plucky heroine, despite Hunt’s smile and sweat.
    • 93 Metascore
    • 100 Manohla Dargis
    Shoplifters
    In the past, Kore-eda’s delicacy has at times enervated his movies. Here, though, the family’s toughness, thieving and secrets, its poverty and desperation, work like ballast on his sensibilities. In their grubby imperfections, Kore-eda finds a perfect story about being human.
    • 96 Metascore
    • 100 Manohla Dargis
    Roma
    Cuarón uses one household on one street to open up a world, working on a panoramic scale often reserved for war stories, but with the sensibility of a personal diarist. It’s an expansive, emotional portrait of life buffeted by violent forces, and a masterpiece.
    • 76 Metascore
    • 100 Manohla Dargis
    At Eternity's Gate
    By adamantly focusing above all else on van Gogh’s work — and its transporting ecstasies — Schnabel has made not just an exquisite film but an argument for art.
    • 52 Metascore
    • 50 Manohla Dargis
    Fantastic Beasts: The Crimes of Grindelwald
    It’s an embarrassment of riches, and it’s suffocating.
    • 59 Metascore
    • 40 Manohla Dargis
    Outlaw King
    Mackenzie does nice, tight work now and again, mostly in more intimate sequences, but too many scenes drag, and his fetishistization of violence proves numbing.
    • 43 Metascore
    • 30 Manohla Dargis
    The Girl in the Spider's Web
    Alvarez tries to pep things up with chases, near escapes, dramatic rescues, fetish wear and female nudity. But the whole thing is a bummer, at times risible.
    • 77 Metascore
    • 70 Manohla Dargis
    They'll Love Me When I'm Dead
    Neville was inspired by Josh Karp’s engrossing book “Orson Welles’s Last Movie,” which goes into greater detail than Neville can in 98 minutes. Karp also pays closer attention to Welles’s artistic process, which in the documentary can seem little more than pure chaos.
    • 80 Metascore
    • 80 Manohla Dargis
    The Other Side of the Wind
    What we have is something of a seductive tease, a haunted film that at times entrances and delights and at times offends and embarrasses.
    • 91 Metascore
    • 100 Manohla Dargis
    Burning
    While each event expands the narrative — filling in the larger picture with nods at sexual relations, class divisions and a riven people — they don’t necessarily explain what happens or answer the fundamental question that burns through this brilliant movie.
    • 64 Metascore
    • 40 Manohla Dargis
    Suspiria
    As the first hour of Suspiria grinds into the second and beyond (the movie runs 152 minutes), it grows ever more distended and yet more hollow. Unlike Argento, who seemed content to deliver a nastily updated fairy tale in 90 or so minutes, Guadagnino continues casting about for meaning, which perhaps explains why he keeps adding more stuff, more mayhem, more dances.
    • 60 Metascore
    • 60 Manohla Dargis
    Bad Times at the El Royale
    Goddard keeps everything smoothly, ebbing and flowing as the characters separate and join together, but at some point during this logy 2-hour-and-21-minute exercise you want something more substantial than even Hemsworth’s admittedly mesmerizing snaky hips.
    • 69 Metascore
    • 60 Manohla Dargis
    22 July
    Fiction that hews close to fact, the movie is serious and meticulous, yet hollow.
    • 88 Metascore
    • 90 Manohla Dargis
    A Star Is Born
    This latest and fourth version is a gorgeous heartbreaker (bring tissues). Like its finest antecedents, it wrings tears from its romance and thrills from a steadfast belief in old-fashioned, big-feeling cinema. That it’s also a perverse fantasy about men, women, love and sacrifice makes it all the better.
    • 70 Metascore
    • 60 Manohla Dargis
    All About Nina
    It’s hard not to root for Nina, even if this prickly, intriguingly difficult character becomes considerably less interesting as the story progresses and the dialogue veers toward the therapeutic
    • 63 Metascore
    • 60 Manohla Dargis
    Hold the Dark
    The movie keeps moving, the story keeps flowing, but these images — which feel suspended between cinema and still photography — create a pause in the action that your anxious imagination can’t help but fret over. That’s especially true because Mr. Saulnier’s images are often in service of spooky, blood-drenched tales.
    • 74 Metascore
    • 80 Manohla Dargis
    Colette
    Colette is an origin story, a tale of metamorphosis rather than of already formed greatness. What interests Mr. Westmoreland is how a self-described country girl became a woman of the world, a transformation that in its deeper, more intimately mysterious registers remains out of reach of this movie and of the hard-working Ms. Knightley.
    • 78 Metascore
    • 90 Manohla Dargis
    The Sisters Brothers
    Despite Mr. Audiard’s embrace of contemporary norms that would have been out of place in a Wayne western — the amusingly deployed coarse language, the shots to the head and sprays of blood — he isn’t attempting to rewrite genre in The Sisters Brothers, which is one of this movie’s virtues, along with its terrific actors and his sensitive direction of them.
    • 67 Metascore
    • 60 Manohla Dargis
    A Simple Favor
    Mr. Feig handily manages the mood and scene shifts, using regular laughs to brighten the deepening dark. By far his smartest move was to give Ms. Kendrick and Ms. Lively room to create a prickly intimacy for their characters, a bond that’s persuasive enough to push the story through its more forced moments.
    • 59 Metascore
    • 50 Manohla Dargis
    White Boy Rick
    Squint and you can sometimes make out the bigger, more complex stories in White Boy Rick, including those of a great city violently brought low; of fragile communities left to fail and rot; and of a legal system that seems permanently broken. Too often, though, the movie traffics in genre clichés and the usual suspects.
    • 72 Metascore
    • 70 Manohla Dargis
    Hal
    It’s a consistently engaging trip. Ms. Scott has assembled a nice, fairly well-rounded group to testify on her subject’s behalf, including people who were part of Ashby’s foundational years in Hollywood — most important, the director Norman Jewison.
    • 62 Metascore
    • 40 Manohla Dargis
    Let the Corpses Tan
    A formalist experiment that soon devolves into a mannerist indulgence.
    • 85 Metascore
    • 90 Manohla Dargis
    Support the Girls
    Mr. Bujalski, who wrote as well as directed, doesn’t lean on shocks and big moments to spark tension or spur the narrative. A fine-grain realist, he creates modest, layered worlds and identifiably true characters, filling them in with details borrowed from life rather than the multiplex.
    • 51 Metascore
    • 40 Manohla Dargis
    Papillon
    Mr. Hunnam isn’t yet a movie star, and given current industry trends (big-studio cartoons, superhero flicks, etc.) might never get that chance. His talent is for quiet, unshowy moments, not leading-man grand gestures and important speeches.
    • 87 Metascore
    • 90 Manohla Dargis
    Mission: Impossible – Fallout
    There’s a whole lot of everything in the Mission: Impossible — Fallout, an entertainment machine par excellence that skitters around the world and has something to do with nuclear bombs, mysterious threats and dangerous beauties. Mostly, it has to do with that hyper-human Tom Cruise, who runs, drives, dives, shoots, flies, falls and repeatedly teeters on the edge of disaster, clinging to one after another cliffhanger.
Page:

Top Trailers

See all »
See all trailers »