Initially intriguing and ambiguous, Lizzie, director Craig William Macneill’s retelling of one of America’s most infamous double murders, devolves into half-hearted theorizing in an effort to wrap things up into a neat and tidy package.
More of an insightful, nuanced, and comprehensive character drama than a detail oriented period piece, director and co-writer Wash Westmoreland’s Colette takes a historically significant literary figurehead and builds upon them a great amount of contemporary themes and parallels.
Assassination Nation is an over-the-top social commentary wrapped up in a horror movie and a thriller, and it’s really going to get people talking this weekend when it opens in theatres.
Quincy Jones has lived a life so rich, complicated, and noteworthy that one could fill a yearlong television series with his exploits, so the single two-hour documentary Quincy can only do so much to contain such a larger-than-life personality.
As familiar and inviting as a mug of hot chocolate and a comfortable sweater, the seasonally appropriate young adult fantasy The House with a Clock in Its Walls gets the Halloween movie cycle off to an earnest, whimsical, and entertaining start.
Gilda Radner remains one of the most underrated and vital performers in the history of comedy, and Lisa D’Apolito’s poignant and detailed documentary Love, Gilda expertly showcases why more people today should be talking about her contributions to popular culture.
Dan Fogelman’s almost admirably insane Life Itself serves as a deep dive into the psyche of the creator of television’s hit series This is Us.
The marital and literary world drama The Wife is the kind of film that values a false sense of intellectual superiority over realistic human emotions or artfulness.
Fahrenheit 11/9, the latest long-form polemic from documentarian and pundit Michael Moore, definitely earns its sequel insinuating title, but not in ways that most viewers will be expecting.
While some could read The Land of Stead Habits, the latest feature from writer-director Nicole Holofcener as a tale of one man’s mid-life crisis, it’s more a pointed, poignant, and frequently funny indictment of privilege and suburban malaise.