Oliver Jones

Between its recreation of that Greenwich Village apartment, its use of archival audio recordings of telephone conversations and its fuzzed-out cutaways to vintage TV clips, One to One...often feels more like a museum installation than journalism. But its subject and its music would reward either.

A carefully considered mix of humor and melancholy glows in the fragile sunshine that bathes an isolated Welsh coastline in The Ballad of Wallis Island, a wan yet affecting consideration of lost love, forgotten bands and the odd ways those entities manifest themselves in our hearts and on our turntables.

Bob Trevino Likes It, the feature film debut from award-winning short film and web series director Tracie Laymon, wistfully and powerfully recaptures a more guileless era in our digital lives—which the Facebook interface and the lead character’s cracked second-gen iPhone put at around 2010.

The enterprise snaps to life only sporadically, primarily when its well-chosen character actors manage to steal moments of vitality away from the profound indifference that surrounds them.

It’s a movie that is not only worth returning to again and again, but one you will be grateful to have walking alongside you for years to come.

That sense of history grabbing you by the throat was still there—it’s all but impossible to drain that quality out of any iteration of the plays in Wilson’s towering Pittsburgh Cycle—but the grip on your windpipe was not nearly as tight as it should be.

Heretic’s fatal flaw lies in its very conceit. The film seems to have forgotten that when playing cat-and-mouse games, the cat, at least, is meant to be having fun. Here no one is—not Grant and least of all, not us.

Admittedly, A Real Pain is an acquired taste; like a top-flight IPA, it is at once overly aggressive and serenely balanced.

While Berger’s film should be applauded for envisioning a way forward for the profoundly troubled and still deeply corrupt organization, by not more completely and honestly reckoning with the crimes of its past, its optimism for the future—while both deeply felt and dramatically conveyed—ultimately rings hollow.

By crisscrossing time frames, Crowley, working from a script by playwright Nick Payne, halts his film’s momentum and lessens the overall impact of the central romance.

The nostalgia is so thick in Saturday Night, Jason Reitman’s furiously busy paean to the nascent days of SNL, so unrelenting and potent, that eventually it unmoors from the film and begins swallowing its characters whole, like the titular alien in Steve McQueen’s The Blob.

All of this furious, empty noise keeps reminding you that you’re watching a cheesy horror film that is not confident enough in the story it’s telling to avoid succumbing to old tricks.

More than anything, Daughters—along with Greg Kwedar’s remarkable current release Sing Sing—speaks to the absolute societal and spiritual imperative of investing in rehabilitation, within prisons and outside their walls.

By centering on the start of the film and its conclusion, you realize Wang possesses not only a preternatural feel for the emotional jumble of boyhood, but also an astute understanding of both film structure and how to mine many layers of unforced truth from his troupe of talented actors.

It is a difficult and painful subject to consider, talk about, and confront both in life and in the movies. But Kormákur’s quiet little film reminds us that when we do—and however we do it—the process can remind us what it is like to be human.

Exhaustion of every sort pervades Beverly Hills Cop: Axel F. You see it in its dearth of ideas, as the film recycles structure, set pieces and even music cues from the original.

The first of Kevin Costner’s monumentally ambitious four-part western cycle, Horizon: An American Saga, Chapter One is a vivid reminder of how rousing an experience it is to see a grandly produced epic in that most American of all genres, while falling well short of actually being that experience.

Lanthimos is so sure-handed and masterful in his craftsmanship, his cast so able and willing to crawl into whatever strange corner that he leads them to, that you cannot help but respect the man and his bizarre creation, even while resenting its obtuseness and self-regarding nature.

[Adlon] has crafted a film that is at once sophisticated and aggressively sophomoric, profoundly romantic and deeply cynical, and as feminist as a barbecue at Gloria Steinem’s house and yet seemingly apolitical enough to appeal to your average Entourage fan.

The latest jacked up, action extravaganza from stunt man turned director David Leitch (his last film, the not-very-good Bullet Train, is still leagues ahead of this movie in terms of imagination and execution), teems with contempt for the audience it is desperate to win over.

A kitchen-sink directorial debut from actor Dev Patel, Monkey Man is a knife-through-the-throat revenge thriller, a diatribe against institutional injustice and wealth inequality, an ode to both ancient and modern Indian culture and folklore, and a portfolio that proudly displays the action hero bona fides of its prodigiously muscled leading man— who just so happens to be the director himself.

This dumpling and rocket-fueled contraption continues to employ the same seemingly unstoppable one-two punch: a steady drubbing of painterly and balletic cartoon violence and the unbounded—and increasingly turned out—enthusiasm of the series’ resident Zeus of Skadoosh, star Jack Black.

With its stunning John Ford-like vistas of a corpse laden Sahara and a vast Mediterranean Sea empty of aid vessels to help an immigrant ship overburdened with desperate and sick North Africans, Garrone has—on the surface—made a lush and monumentally disturbing feature-length commercial for staying home.

While it is done well enough, the more complicated family story it eschews feels rarer and more valuable.

This time, Godzilla is a powerful symbol of the addictive pull of destruction, and how once unleashed, weapons of mass destruction can never again be contained.

The perfect actor with the perfect part at an ideal moment in his career, Domingo doesn’t simply embody Rustin, he liberates him.

The Killer is a simultaneously hollow and profound meditation on the numerous ways identity has been swallowed up and voided by the various demands of commerce and brand.

Dream Scenario might have worked better as a character study, which is clearly what Cage wants it to be.