With Ben Affleck playing a lovable bartender and surrogate father, The Tender Bar has its charms, but it stalls out with familiar tropes about working-class kids getting the hell out of the old neighborhood.
Eileen Jones is a film critic at Jacobin and author of Filmsuck, USA. She also hosts a podcast called Filmsuck.
Writer, director, and actor Peter Bogdanovich died last week at 82. His rocky career as a filmmaker, actor, and critic is a testament to an era in which the public took film seriously — and filmmakers took the public seriously.
Sidney Poitier was more than an icon for his civil rights activism and for “paving the way” for black actors to follow. He was a master of his craft, and one of the greatest performers of all time.
The new Nightmare Alley is wilder than the brilliant 1947 original. But director Guillermo del Toro trades its original expansive sense of human tragedy for a simple, bleak pessimism.
Robert Wise and Jerome Robbins’s 1961 adaptation of the Broadway musical West Side Story embraced fantasy and ended up making a Hollywood classic. But Steven Spielberg and Tony Kushner’s remake brings the larger-than-life story of doomed lovers down to earth — and sinks.
Right at the point that director Jane Campion should have pushed us all the way to the edge of our seats with fever-pitch intensity in The Power of the Dog, she pulls back to the solemnly serious. Just give us the melodrama, Jane!
Lady Gaga captures every scene in House of Gucci, and she’s backed up by a stellar supporting cast. But the film somehow ends up going far too soft on the Gucci family’s absolute sociopathy and appallingly hideous clothes.
Based on the true story of Venus and Serena Williams’s coach and father, King Richard shows us the toll racism took on a generation of black men — but also the fight it inspired in them.
Drawing from real but forgotten figures from the old West, The Harder They Fall breathes new life into the Western. It’s also a violent good time for all.
If you, like me, despise the British monarchy, you may expect Spencer, the new Princess Diana movie, to be insufferable. But the film is so bonkers, you may put aside all desire to watch the House of Windsor drown in the River Thames and actually enjoy the show.
Forget the parodies — West Side Story was an epic musical about gang violence that was as hard-hitting as it was stunning.
Forced to support his family as a child star of the 1940s, Dean Stockwell embraced the counterculture of the 1960s while cutting his own path through eight decades in Hollywood.
The French Dispatch tips the director’s trademark, Francophile style into overdrive — no doubt pleasing his fans while infuriating his detractors.
British filmmaker Edgar Wright’s knack for mixing and matching subgenres finally leads him off the deep end — and into incoherence — with Last Night in Soho.
I can’t help but wonder what Denis Villeneuve’s new Dune movie might have been had it chucked those handsome but cold visuals and embraced a wilder approach.
The second film in David Gordon Green and Danny McBride’s Halloween reboot can’t hold a candle to their 2018 installment — let alone the original.
Todd Haynes’s excellent new documentary on legendary rock band the Velvet Underground reminds us of just how daring both music and film once was not that long ago.
The new James Bond movie, No Time To Die, is so disappointing that I don’t see how the iconic franchise can be reformed simply by creating a more woke 007.
We asked our film critic — who has somehow never seen The Sopranos — to watch HBO’s new prequel film The Many Saints of Newark to see if it could work on its own merits.
A new Netflix documentary, Blood Brothers, offers a moving look at the friendship between Malcolm X and Muhammad Ali, two of the 20th century’s most dynamic figures. When black-and-white photos of the pair grace the screen, it practically vibrates with energy.