Steven Spielberg’s autobiographical The Fabelmans is a dull, self-indulgent victory lap for the most victorious filmmaker in history.
Eileen Jones is a film critic at Jacobin and author of Filmsuck, USA. She also hosts a podcast called Filmsuck.
Director Rian Johnson follows up on his 2019 crowd-pleaser Knives Out with Glass Onion, this time taking aim at an Elon Musk–esque billionaire and his frenemies. Unfortunately, Netflix has ensured you only have a week to see it with an actual crowd.
Written by Weird Al himself and starring Daniel Radcliffe, Weird: The Al Yankovic Story is a biopic parody that mocks the prestige form at every turn. It may very well save you from the worst interludes of family togetherness this weekend.
The new movie My Policeman, starring Harry Styles, is inspired by novelist E. M. Forster’s 40-year relationship with policeman Robert Buckingham that began in 1930. The details of that romance are stirring — much more so than what we get in the film.
Triangle of Sadness is more than a little over the top at times. But so what? Unlike every other movie at the theaters, it’s over the top in its scathing portrayal of the ugly realities of contemporary inequality.
In Bruges’s director Martin McDonagh reunites with Colin Farrell and Brendan Gleeson for a story of an Irish friendship gone sour. And it’s easily the best new movie I’ve seen in forever.
Wendell & Wild is gorgeous, daringly creative, and stunning to watch. Yet Netflix has put almost no effort or resources into promoting the film.
In The Good Nurse, a serial killer’s murders are disguised by the frequently nightmarish workings of hospitals in a for-profit health care system.
Todd Field wants you to think his new movie Tár is a critique of the pretentiousness of the high art world. But the movie is actually trapped in that suffocating world and can’t find a way out.
It’s never a bad time to revisit John Carpenter’s 1988 classic They Live, a hilarious sci-fi thriller that skewers the inequality of the neoliberal era and offers an iconic depiction of capitalist ideology.
Credit to David O. Russell for trying to make a movie, Amsterdam, that’s unique and compelling. He didn’t really succeed, but at least he tried.
Angela Lansbury, who died this week at 96, was a proud socialist who achieved enormous success in film, theater, and TV. Yet her astonishing range was botched by the Hollywood studio system — preventing her movie career from flourishing even more.
Based on Joyce Carol Oates’s novel, Andrew Dominik’s film Blonde ignores the assertive and hardworking real-life Marilyn Monroe and instead gives us a lurid tale of perpetual victimization.
The new Oprah Winfrey–produced Sidney Poitier documentary, Sidney, is a gushing tribute film, not a fully rounded portrait of a human being who had weaknesses to go along with his many strengths.
Director Olivia Wilde’s Don’t Worry Darling is a treasure trove of behind-the-scenes celebrity scandal, helping to keep an otherwise forgettable film in the public’s consciousness.
Martin Scorsese loves Ti West’s “demented Disney film,” Pearl — and you will too.
Disney’s remake of its 1940 animated classic Pinocchio is just as bad as you’ve heard.
As standards of living fall at the bottom and rise at the top, the only thing to do is watch TV about the trivial problems of the phenomenally rich.
Three Thousand Years of Longing, director George Miller’s whimsical follow-up to Mad Max: Fury Road, finds him returning to the gentle storytelling he perfected in the Babe films. Too bad this one’s a slog.
Aubrey Plaza’s title character in Emily the Criminal is trapped by crushing student loan debt, a punitive criminal justice system, and low wages. She, like so many other Americans, feels like she’s out of legitimate options — because she is.