‘Buddy’ Can’t Cut Deeper Than Its Basic Dark Comedy

The comic incongruity of children’s programming with slasher horror never coheres into anything more thoughtful.

Road Trips Are a Time for Existential Dread in the Riveting ‘It Ends’

Alex Ullom takes a simple premise and pushes it to maximum effect in his captivating thriller.

‘Mutiny’ Leaves Jason Statham Adrift

The action-thriller fails to maximize its star or its setting.

Ross McElwee’s ‘Sherman’s March’ and ‘Remake’ Make for a Powerful Double Feature of Love and Loss

McElwee’s 1985 documentary ‘Sherman’s March’ returns to theaters in 4K alongside his latest work, ‘Remake,’ an examination of film and memory in the aftermath of his son’s death.

‘Teenage Sex and Death at Camp Miasma’ Dares Audiences to Feel Rather than Analyze

Jane Schoenbrun blasts open a meta-analysis of slashers to embrace the emotional vulnerability of desire.

In ‘House of the Dragon,’ the Futility Is the Point

The ‘Game of Thrones’ prequel series finally found a distinct identity in its third season.

‘The Samurai and the Prisoner’ Review: War and Crimes in Feudal Japan

Kiyoshi Kurosawa’s film is a clever critique of competing narratives wrapped in a series of procedurals.

David Ellison Is Lying in the Paper of Record

His NYT editorial shows the head of Paramount is getting increasingly desperate about the merger with Warner Bros. Discovery.

Okay, Let’s Talk about Sadie Sink’s Character in ‘Spider-Man: Brand New Day’

Spoilers, obviously.

Marvel Keeps Thinking the Past Will Dictate the Future

Kevin Feige’s latest comments regarding Doctor Doom miss the larger appeal of the previous Marvel movies.

‘A Toxic Love Story’ Review: True Crime Doc Keeps the Twists Coming

What at first seems like another “crazy lady” movie builds to something more insidious and damning.

In Christopher Nolan’s ‘The Odyssey,’ We’re All Strangers in a Strange Land

Nolan's lush, tactile film makes a for thoughtful, bracing conversation with Homer's epic.