Uproxx Movie Reviews

Amazon Prime’s ‘The Vast Of Night’ Marks A Stunning Debut For Director Andrew Patterson
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Pete Davidson’s ‘Big Time Adolescence’ Feels Like A Weed-Infused ‘Toy Story’
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Rashid Johnson’s Contemporary Take On ‘Native Son’ Confuses More Than It Explains
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Jordan Peele’s ‘Us’ Is A Genuinely Scary And Very Funny Follow-Up To ‘Get Out’
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‘The Man Who Killed Hitler And Then The Bigfoot’ Defies Expectations
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‘Vox Lux’ Is A Pop Star Story That Doubles As A Harsh Examination Of The Modern World’s Celebrity Obsession
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Even Its Sharp Cast Can’t Stop Shane Black’s ‘The Predator’ From Disappointing
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‘The Meg’ Is The Most Jason Statham-Fighting-A-Giant-Shark Movie Of The Year
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‘Mamma Mia! Here We Go Again’ Is A Delightful Movie Made For Every Type Of Person To Enjoy
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‘Jurassic World: Fallen Kingdom’ Is Sprinkled With The Joy And Wonder That Made The Original Special
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The Tribeca Film Festival Opens With ‘Love, Gilda’ — A Moving, Intimate Look At The Life Of Gilda Radner
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Steven Soderbergh’s ‘Unsane’ Sends Claire Foy Into A Threatening Wonderland
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‘Love, Simon’ Folds A Coming Out Story Into A Warm, Traditional Teen Comedy
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Armando Iannucci’s ‘The Death Of Stalin’ Has More Dead Bodies Than Most Horror Movies
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The Rollout For Netflix’s ‘The Cloverfield Paradox’ Is More Compelling Than The Movie
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‘Phantom Thread’ Is Paul Thomas Anderson At His Most Restrained
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‘The Commuter’ Is A Movie For When You Just Want To Watch Liam Neeson Punch People In The Face
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‘In The Fade’ Sends Diane Kruger On A Hellish Quest For Justice
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