I wanted to love Robert Eggers’s follow-up to 'The Witch' and 'The Lighthouse', but maybe a big-budget Viking saga just isn’t the right fit for a wonderful weirdo like …
Author: Eileen Jones
‘The Unbearable Weight of Massive Talent’ Is Lovingly Made for Sloppy-Sweet Fans Only
The real-life Nicolas Cage has long embraced the overacting, movie star persona fostered by young, social media-savvy fans who’ve generated a million memes in his honour. This movie is …
‘Everything Everywhere All at Once’ Is a Rare Triumph
It might seem like the most compelling aspect of the film is its fast-paced, cleverly controlled chaos. But when the wacky fun fades, a portrayal of extraordinary emotional complexity …
Judd Apatow’s ‘The Bubble’ Is Pointless and Tone-Deaf
Judd Apatow’s latest film is a toothless satire of Hollywood insanity. It’s a pointless, dated movie that no one needs in 2022.
Steven Soderbergh’s ‘Kimi’ Is a Slick, Unmemorable Thriller
The new thriller from Soderbergh is an ordinary genre piece – so ordinary that not even its insistent topicality can make it seem more compelling.
‘Severance’ Is the Perfect Thriller for the Great Resignation of Our Era
Ben Stiller’s excellent new limited series turns the corporate workplace into the setting for a new and timely subgenre: 'job horror'.
‘The Afterparty’ Is a Comedy Murder Mystery for Millennials
'The Afterparty' is just one of several new comedies about stressed-out millennials finding themselves trapped in a murder mystery. So what is it about this generation that makes them …
‘The Tragedy of Macbeth’ Is a Cinematic Feast for Starving Film Lovers
Joel Coen’s first film without his brother Ethan isn’t just a triumph – it’s a reminder that, even with the dismal state of cinema today, movies can still surprise …
George Clooney’s ‘The Tender Bar’ Needs More Bar, Less Yale
'The Tender Bar' has its charms, but it stalls out with familiar tropes about working-class kids getting the hell out of the old neighbourhood.
Guillermo del Toro’s ‘Nightmare Alley’ Paints an Old Noir with Lurid, Fantastical Color
The new offering 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.