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(09/21/26 6:00am)
Jane Schoenbrun’s “Teenage Sex and Death at Camp Miasma” is an infinitely tangled and deeply meta film that manages to strike a subversive and nuanced tone. The satirical slasher-romance follows Kris (Hannah Einbinder), a self-described queer and indie filmmaker hired to reboot the tired “Camp Miasma” franchise. Kris tracks down the actress who played the “final girl” in the first movie, the reclusive Billy Presley (Gillian Anderson), who lives in the abandoned sleepaway camp on which the initial cult classic was set. What follows is a romantic, bloody romp that defies expectation at every turn.
(09/21/26 6:06am)
Following the success of “Weapons,” director Zach Cregger might have chosen to go even bigger and more complex for his next feature. That film wove together multiple nonlinear narrative perspectives, culminated in unexpected revelations and invited discussion over its broader social themes.
(08/21/26 6:00am)
In decades past, many of the most commercially successful films were totally original stories with a simple, attention-grabbing premise as a selling point: A killer shark terrorizes a town; a friendly alien visits some children in a quiet suburb; a teenager travels back in time to meet his parents when they were his age; a theme park brings dinosaurs back to life.
(08/14/26 12:41pm)
I can’t remember the first time I heard “The Odyssey”; it was read to me before I could read it myself. I came to know the wooden horse, the Cyclops, Penelope at her loom and Odysseus lashed to the mast through illustrated versions long before I understood that they belonged to a pillar of Western literature. My childhood dogs were named Argos and Hector.
(07/24/26 6:00am)
Spoilers ahead for “Project Hail Mary.”
(07/24/26 5:05am)
A simple intertitle sets the scene: “A time of apparent magic.” The phrase is deceptively layered, and it reflects a key aspect of the way “The Odyssey” approaches its source material. “Apparent” could mean obvious, or perhaps it means ostensible.
(07/10/26 6:05am)
Spoilers ahead for “Disclosure Day.”
(07/03/26 6:00am)
In July 2025, James Gunn’s “Superman” dominated the box office and cultural zeitgeist. It felt like a triumphant return to the superhero flicks of old — vibrantly colored, idealistic and romantic. It would be a tough ask of any script to follow such a financial and social success, but the most recent “Supergirl” falls flat in nearly every category except for its stand-out lead.
(05/29/26 6:00am)
Even describing “I Love Boosters” presents a strange challenge. It’s a film so committed to its own weirdness that its plot turns and genre-bending are almost impossible to believe without actually seeing it. For any of its flaws, of which there are several, there’s no denying that the movie is the product of the singular, uncompromising vision of writer-director Boots Riley.
(05/18/26 5:05am)
In a January op-ed for the Wall Street Journal, College president Sian Leah Beilock argued that American higher education faces a “trust problem.” She wrote that colleges can be “too ideological” and students are often taught “what rather than how to think.” Her arguments are a response to a question faced by many elite universities across the country: What is, after all, the point of higher education?
(05/08/26 6:00am)
“Maybe some things have changed,” Andrea “Andy” Sachs (Anne Hathaway) mumbles upon re-entering the office of fashion magazine Runway, 20 years after leaving her job as personal assistant to editor-in-chief Miranda Priestly (Meryl Streep). “Some things” certainly have, and “The Devil Wears Prada 2” brilliantly captures the pressure that old-school franchises now face in a rapidly shifting digital economy.
(05/04/26 6:15am)
Through its two-hour run time, “I Swear” maintains a remarkable tonal balance that elevates it from an entertaining film to a truly great one. It approaches Tourette syndrome with searing intimacy, never shying away from the awful consequences that those who live with it endure, and yet it also recognizes the humor inherent in its manifestations. The film masterfully presents its subject’s tics?— shouting “half-price heroin!” in front of police officers, “I’m a pedo!” during a job interview or “fuck the Queen!” during an audience with Elizabeth II herself — as simultaneously horrifying and outrageously funny. The movie’s command of its emotional register also allows it to be unexpectedly poignant as it tells an extremely personal true story that’s both heartbreaking and inspiring.
(04/27/26 6:05am)
The majority of director Antoine Fuqua’s biopic of Michael Jackson, “Michael,” is built from a small set of scenes repeated and slightly reworked to fill out the runtime. Jackson endures abuse or manipulation from his father. Jackson has a conversation in which someone tells him how special or talented he is. Jackson exhibits childlike innocence and/or wonder. Jackson comforts sick children. Jackson has an epiphany that leads to his next great hit. Jackson performs that hit. After the first 20 minutes or so, this cycle essentially becomes the rest of the film. The structure begins to feel almost musical in its looping, rhythmic repetition, cycling through familiar beats with only minor variation. Is it a passable diversion? Sure. Does it justify telling this story as a narrative feature film? Not even a little bit.
(04/20/26 6:05am)
A title like “Lee Cronin’s The Mummy” invites multiple questions. For one, who is Lee Cronin? Why is his name attached to the film? How, if at all, is this installment related to “The Mummy” starring Tom Cruise, “The Mummy” starring Brendan Fraser or any of the other multitudinous bandage-wrapped, Egyptian-themed entries which bear the name?
(04/17/26 6:00am)
“XO, Kitty” season three picks up right where the show left off: smack in the middle of a prime young adult cocktail of romance, comedy and drama. But while its predecessors walked the line between the three, the newest installation in the “To All the Boys I’ve Loved Before” Netflix spinoff series takes a sharp turn into trope-y dramedy — a choice that destabilizes the show’s tonal balance and ultimately strips it of its charm.
(04/13/26 6:05am)
“The Drama” is the kind of movie that both really does and really doesn’t need to be reviewed. Its impact hinges less on what you know and more on what you don’t, which makes writing about it without spoiling anything feel like a careful balancing act. Much of what makes it work depends on going in blind. What is important for moviegoers to know, though, is that it’s a tense, deeply uncomfortable experience — one that is the complete opposite of its happily-ever-after marketing.
(04/10/26 6:00am)
A Barbie doll with her fingers crossed behind her back. A small truck with a flat tire. These are some of the toy ideas of Alejandro (Julio Torres), a young man who aspires to become the world’s most famous toy designer. To achieve his dream, he must overcome a big obstacle: his precarious immigration status. Born in El Salvador, Alejandro needs visa sponsorship to continue living in New York City, but few companies are willing to hire a foreign-born worker. “Problemista” follows his effort to navigate a complicated immigration system while pursuing his lifelong dream.
(04/06/26 6:10am)
Cloud rap has always been a genre defined by its resistance to definition. Emerging in the late 2000s through trailblazing artists like Main Attrakionz and Lil B, cloud rap introduced a sound that felt hazy and psychedelic, often shaped more by mood than by design. Though frequently tied to the online music platform SoundCloud and the artists who rose through it — such as Yung Lean and Bladee — the “cloud” has never referred to the platform itself. Instead, it is the atmosphere that lingers in the music’s euphoria and detachment: essentially, the perfect high.
(04/06/26 6:00am)
“The Super Mario Galaxy Movie” knows exactly what it is. Directed once again by Aaron Horvath and Michael Jelenic and produced by Illumination and Nintendo, the sequel had high expectations to meet. Its predecessor, The Super Mario Bros. Movie, released in 2023, remains the highest-grossing video game adaptation of all time.
(04/03/26 6:00am)
In one of the first scenes of the documentary “Assembly,” multidisciplinary artist and co-director Rashaad Newsome prepares to deliver his father’s eulogy. He does not hide his anxiety. Newsome, who is a Black queer person from Louisiana, says he has “never felt truly protected in this country.” With a desire to create spaces of safety and belonging, Newsome decides to transform the Park Avenue Armory, a former military facility in New York City, into a futuristic ballroom house where LGBTQ+ people can thrive.
