Argylle: The Bigger the Spy, the Bigger the 'Why'
The Matthew Vaughan spy movie's ungainly, self-satisfied approach to action and comedy makes it a slog to sit through.
Erosis
Basic Instinct is a lurid joke played on its own misogyny.
Veni Vidi Vacay
An Oscar season surprise, The Holdovers is modestly scaled but big on laughs and heart.
He Wanted the Kingdom of God on Film
Cinema Paradiso's ode to the moving image is more image than moving, but what an image it is.
Holy Ghosts
Andrew Haigh's beguiling fantasia about a middle-aged gay man reuniting with his long-dead parents is an achingly powerful exploration of the wounds we carry with us.
Stranger Changer
Andrew Haigh's delicate dramatic touch was already fully-formed in his 2011 film about the chance encounter of two gay men.
Oscar Nominations 2024
A list of this year's nominees, with thoughts on who is missing.
Do The Write Thing
American Fiction's political humor is its weakest element, but as a character study and dramedy bolstered by a great supporting cast, it nonetheless entertains.
Thin Grool
The 2024 musical iteration of Mean Girls is broadly enjoyable, but in smoothing out the original’s edges it has mostly been left without a personality or purpose of its own.
Fetch Club
Mean Girls earned its pop culture memability with an exceedingly quotable script, but the meanness of its world rubs off on the movie in regretable ways.
