Liam Neeson’s ‘The Marksman’ Is A Kinder, Gentler Version Of ‘Taken’
‘Some Kind Of Heaven’ Is A Perfect Documentary
‘Pieces Of A Woman’ Rubs Our Noses In Grief, With A Side Of Shia LaBeouf
Be Careful What You Wish For: ‘Wonder Woman 1984’ Is Not Dark Or Gritty, For Better Or Worse
George Clooney’s ‘The Midnight Sky’ Is A Fine Space Movie And We’re Lucky To Have It
Tom Hanks Plays Woke John Wayne In ‘News Of The World’
Hilary Swank Plays A Vegas Hook-Up Gone Wrong In The Wildly Eventful ‘Fatale’
Was Ted Bundy Born To Be A Killer Or Made Into One? Alex Gibney’s New Doc Sheds New Light On The Subject
‘Hillbilly Elegy’ Is A Dour Sizzle Reel Of Poverty’s Horrors
Mel Gibson Plays A Grizzled, Down-On-His-Luck Santa Claus In The Oddly Tedious ‘Fatman’
Kevin Costner And Diane Lane Reteam For ‘Let Him Go,’ In Which ‘Taken’ Meets A Viagra Ad
I Couldn’t Cryogenically Freeze Myself Until After The Election, So I Saw ‘Tenet’ In A Theater Instead
‘The Craft: Legacy’ Is Deliciously Obnoxious Horror Kitsch, But Ends Just When It Starts To Heat Up
In ‘Borat Subsequent Moviefilm,’ The ‘Victims’ Have Become The Performers
Bill Murray Almost Carries ‘On The Rocks,’ Sofia Coppola’s Tale Of Rich People Behaving Blandly
Miami Screwed The World In 2000: ‘537 Votes’ Caps Off Billy Corben’s Career Documenting ‘Florida F*ckery’
Robert De Niro’s ‘The War With Grandpa’ Is No ‘Raging Bull,’ Obviously
‘Charm City Kings’ Is ’12 O’Clock Boys’ Meets ‘Bronx Tale’ With A Star Turn From Meek Mill