Sean Collier’s Popcorn for Dinner
This madcap road trip, filmed mostly in Western Pennsylvania, is an instant comedy classic.
Aside from its lead performance, Sony's latest spider spinoff is uniformly terrible.
The music saves an otherwise by-the-numbers biopic.
A throwback full of ’80s fashions — and that era's comedic sensibilities — this monstrous love story is unexpectedly charming.
War erupts between a half-dozen astronauts in a thriller that is much more fun than it is good.
No one’s going to call this one good, but it certainly delivers the mayhem it promises.
The musical adaptation of the beloved comedy is a good time, even if it can’t quite decide what it wants to be.
Turns out making a pool scary isn't nearly enough to drive a horror movie.
An unlikely pack of varied films — from an award-winning courtroom drama to an underdog monster movie — emerged as the best.
Adam Driver stars as the automotive kingpin in a biopic without much gas in the tank.
Excellent performances anchor this adaptation of the hit Broadway musical.
This riff on “Frankenstein” from director Yorgos Lanthimos isn’t merely a fresh and exciting take on an old story — it’s the best film of the year.
A family tragedy is brought to vivid life in this compelling drama from A24.
The latest take on the classic candy man isn't bad — but it's too muddled to be all that good.
If "The Boy and the Heron" is indeed the final film from master animator Hayao Miyazaki, it's a fitting farewell.
Eddie Murphy and Tracee Ellis Ross star in an imaginative but ultimately unremarkable holiday caper.
With powerhouse performances by Natalie Portman and Julianne Moore, Todd Haynes’ drama is a worthy Oscar hopeful.
Ridley Scott’s biopic tears down the emperor’s great-man status with a smart script and keen performances.
Intended as a celebration of Disney on the occasion of the studio’s 100th anniversary, “Wish” is overloaded with references and in-jokes.
This prequel works well enough — until it sticks around for far too long.
The soccer comedy isn’t funny enough to separate it from a hundred similar underdog stories.
The latest chapter in the never-ending Marvel Cinematic Universe story succeeds with the help of three immensely talented stars.
Sofia Coppola’s Priscilla Presley biopic is too quiet to hold the audience’s interest and too cautious to truly interrogate its subject.
The opening-night feature at the Three Rivers Film Festival, Alexander Payne’s “The Holdovers,” is a remarkable drama with great performances — as well as a very unusual sort of Christmas movie.
