Boots Riley’s new film is a zany pro-labor romp that swings for the fences, even if it doesn’t always connect.
The final season of the superhero satire show squanders its potential with messy plotting and dreadful dialogue.
The biographical comedy-drama, based on the life of activist John Davidson, is a tender and uplifting call for understanding.
Antoine Fuqua’s sanitized biopic offers slick spectacle but little substance in its portrait of Michael Jackson.
Cronin has an eye for viscera and camera tricks, but his two-hour “Mummy” reimagining never becomes scary, funny or distinctive.
Ryan Gosling anchors the relentlessly entertaining and shamelessly sincere adventure directed by Dartmouth alumni Phil Lord and Chris Miller.
Despite its lofty goals, a disjointed story structure and grating sensibility make the film more irritating than insightful.
A stacked cast and sharp craftsmanship keep this L.A. thriller entertaining, even as the payoff lands a little flat.
The first lady’s documentary is shiny, sleek and utterly soulless.
The post-apocalyptic follow-up is gorier and scarier than its predecessor.