The Conversation Encapsulated All of Our Nixon-Era Fears
Francis Ford Coppola’s thriller tapped into timely anxieties around privacy and trust.
The BeguiledSofia Coppola’s new movie is elegant and tasteful to a fault—even when the hacksaws come out.
Picture Me LOLin’The long-gestating biopic All Eyez on Me is as awkward and laughable as the Tupac hologram.
All the President’s Men Is a Superhero Flick for JournalistsHow do you keep an audience interested when the entire country knows how the story turns out?
It Comes at NightLike a Bruegel painting, this post-apocalyptic horror film portrays a bleak vision with a master’s touch.
Wonder WomanThis delicately powerful superhero movie made me finally see the importance of female representation.
King Arthur: Legend of the SwordGuy Ritchie’s entirely brainless, totally enjoyable fantasy reveals the bro-y side of the Arthurian legend.
RiskLaura Poitras’ WikiLeaks documentary shows what happens when a filmmaker gets too close to her subject.
Monster MishmashAnne Hathaway’s Colossal is a mongrel of a monster movie, and that’s what makes it great.
T2 TrainspottingChoose to see this nostalgia-drenched, sociologically astute, and intoxicatingly clever sequel.
Kong: Skull IslandThe King Kong reboot apes classics like Apocalypse Now, but it’s not as clever as it thinks.
Conspiracy Thrillers Movie Club: The Conversation and Enemy of the StateBefore 9/11, the idea of constant government surveillance seemed extreme. Now we take it for granted.
The Big SickBased on the unbelievable story of Kumail Nanjiani and Emily Gordon’s real-life romance, this is the rare rom-com that’s as messy as real life.
The MummyUniversal’s attempt to launch its own cinematic universe feels like it’s had its brains pulled out through its nose.
War MachineBrad Pitt’s first film for Netflix is a perfectly timed satire. If only it were a good movie.
The CircleThe film adaptation of Dave Eggers’ tech satire is like Black Mirror meets Silicon Valley—except it’s neither funny nor frightening.
The Lost City of ZJames Gray’s adaptation of David Grann’s book is like a real-life Indiana Jones where the villain is the British class system.
Song to SongTerrence Malick’s indie-rock film plays like a singer reprising an old tune, but no one sings it like him.
The Live-Action Beauty and the Beast How is it possible that a story about a woman prisoner falling in love with her beast captor is still this enchanting?