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.
Eileen Jones is a film critic at Jacobin and author of Filmsuck, USA. She also hosts a podcast called Filmsuck.
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.
Aretha Franklin was a legend. But the new Franklin biopic, Respect, is a forgettable film that avoids the darker and more difficult parts of her life.
Clint Eastwood is back in a starring role at age 91 in Cry Macho. But if this is to be his final film, it’s an awful way for a legend to say goodbye.
Nia DaCosta’s Candyman reboot is a hit, but unlike the strange and haunting 1992 original, it’s a by-the-numbers horror flick.
Comedian Scott Seiss on how his viral TikTok character “Angry Retail Guy” gave voice to the rage of the 21st-century chain store worker.
Sourced from decades of the Hollywood star’s private home videos, the new documentary Val depicts the rise and fall of infamously “difficult” actor Val Kilmer with charm and intimacy — even if it’s a self-serving portrait.
Insufficiently developed characters, awkwardly acted scenes, embarrassing dialogue: M. Night Shyamalan has made some awful movies in his day, but Old is one of his worst.
From staging its emotional finale to deploying AI-generated simulations of Anthony Bourdain’s voice, Roadrunner’s director has undercut the reliability of the entire project.
In the 1970s, sports movies were funny, bitter comedies about working-class jocks taking aim at both the front office and the rich.
Black Widow is a dumb movie that recycles the same Russophobic Cold War narrative Hollywood has been using for years. But it’s just dopey enough and supplies just enough laughs that I couldn’t be mad at it.
With historic performances by everyone from Stevie Wonder and Gladys Knight to Nina Simone and Sly and the Family Stone, Questlove’s documentary about the 1969 Harlem Cultural Festival is a moving portrait of black music and a radical political and cultural moment.
Pixar’s latest film, Luca, is so chock-full of twists and turns, it reveals just how much that once-little animation studio has helped shape our current “bingeworthy” narrative standard.
The controversy over casting in Lin-Manuel Miranda’s musical In the Heights obscures just how dull the film really is.
The sequel to John Krasinski and Emily Blunt’s horror-thriller A Quiet Place can’t deliver the same surprises as the original. But it still works.
Disney has rebooted their legendary dalmatian-skinning villain, Cruella de Vil — and turned her into a scrappy, likable hero. The result is the complete mangling of one of the greatest Disney villains of all time.
You wouldn’t know it from the whitewashed image of her as an angelic, unthreatening icon, but Helen Keller — yes, that Helen Keller — was a socialist.
Ryan Murphy’s new Netflix limited series on the 1970s fashion icon Halston is yet another showcase not only for Murphy’s trademark bright and glossy style but also his contempt for the unglamorous rabble.
Thomas Vinterberg’s Oscar-winning Danish drama Another Round celebrates the ways in which alcohol can bring joy to a midlife crisis — but there’s no way the coming Hollywood remake can avoid American moralism.