On the occasion of the release of Thunderbolts*, we ranked all the films in the MCU.
Potrykus looks without flinching at the ultimate consequences of permanent adolescence.
The film finds a state of grace in that torrential pull between the familiar and the new.
The film is a philosophical account of the shaky ground that human existence stands on.
The film is far from original, but it successfully translates game logic to the big screen.
If only the entirety of the film displayed the ferocious sense of purpose of its final act.
Saxon discusses what he sees as the relationship between technology and nature.
Kulumbegashvili discusses why she wants to sabotage expectations every time she makes a film.
Everything here is too clean and fastidious—the opposite of lived in.
Ultimately, the film’s broad comic strokes mesh poorly with its boilerplate action beats.
The marketing folk over at Sony are cheeky monkeys.
Check out our ranking of all the Palme d’Or winners since 2001.
The trailer can’t be accused of not leaning into the elation of the material.
Sinners is one of the most distinctive, confident mainstream films of the modern era.
Pedro Pascal, Austin Butler, and Emma Stone also star in Aster’s fourth feature.
Ahn talks about what he hopes audiences will take away from his spin on the material.
Cronenberg discusses the pull of A.I., taking to the dead, and the optimism of the film’s ending.