A superb coming-of-age saga that lives in the intersection of youthful euphoria, despair, insecurity, irresponsibility, and fearlessness.

MaXXXine may be less intimate to its detriment, but it does such interesting things with its scale that the lack of closeness doesn’t matter. It’s small compared to most movies, but massive compared to West’s first two installments.

Suggests that the Taliban are engaged in an elaborate role-playing performance for which they’re unqualified.

Akin doesn’t untangle his main character’s inner life; rather, he simply recognizes that healing is a process that both begins with oneself and is aided by those we allow into our lives and hearts.

By minimizing its predecessor’s goofiness in favor of vacuous character drama, winds up only sporadically kicking into gale-force gear.

It’s a feature debut that portends big things for the up-and-coming filmmaker.

A thriller that grows fouler and scarier with each step toward damnation, as well as providing an unforgettable showcase for Nicolas Cage as a zealous maniac unlike any other.

A documentary that not only formally resembles a conspiracy-minded YouTube post, but is about as reliable and convincing as one.

Aiming for the stars, it proves a laborious affair that rarely gets off the ground.

A model midnight-movie beat-’em-up.

Kids will undoubtedly chuckle at their familiar exploits; the rest will view the film as an excuse to take a nice air-conditioned nap.

Far better than anticipated (or has any right to be), thanks in large part to Murphy recapturing some of the wisecracking magic that originally made Axel a sensation.

A drama expertly modulated to raise both eyebrows and pulse rates, led by a superb Léa Drucker performance that’s rooted in uncontrollable self-destructive passions and intense self-preservation instincts.

Courtesy of an intense lead performance from Lupita Nyong’o, it packs a moderate silent-but-deadly punch.

The biggest problem with Horizon is that, even with its lengthy running time, Costner has only scratched the surface of the “saga” he’s trying to tell. There is no arc to what happens, just the seemingly unending introduction of characters.

A 21st-century cautionary tale about the desire for fame and the platforms which make that dream seem so easily attainable.

Silly and slipshod, it’s not the role that will catapult the acclaimed actor back into the types of projects he deserves.

A fiery sermon of despondency and damnation, as well as a memorable nightmare of marriage, motherhood, and madness.

Unabashedly romanticizing its subjects as paragons of strength and style, it doesn’t have much substance lurking beneath its surface—but then, with a surface like this, it doesn’t really need any.

It’s a movie that laughs in the face of a happy ending, refusing to let you get too comfortable. It is evil in the best way.

A morass of the worst of humanity and, also, a tech industry that seems perfectly comfortable profiting from it.

Destined—depending on one’s perspective on this matter—to inspire either heartfelt sympathy or blood-boiling outrage.

A tale whose creative inspiration seems to be Three’s Company—and that’s not a compliment.

Thanks to its stellar animation, some great gags, and unique twists on one of Pixar’s smartest concepts, the film should be a memory that audiences find worth keeping in their minds’ headquarters.

Cares less about saying something significant than about imparting quirky vibes.

It’s a nightmare that burrows under one’s skin like a virus (or a curse), and it heralds its creator as a bracing new genre-filmmaking voice.

Chronicles the whirlwind phenomenon and, it turns out, the tricky process of looking back and learning to both accept the good and let go of the bad.

Follows the same basic pattern as the work of her dad M. Night Shyamalan—namely, it starts strong and then slowly falls apart under the weight of its obligations to clarify its baffling scenario.