Jessica Jones Is the Best On-Screen Drama Marvel Has Ever Made

Marvel’s Jessica Jones is smart, surprising and occasionally terrifying, a human tale of trauma and healing in a superhero vein. Its first episodes have more (unexploitative) sex scenes than battles, more shrugs and eye rolls than mighty kapows. But it’s not the shock or novelty that gives it resonance. Jessica…

Noé’s Love Has Sex, Beauty, but Too Little Feeling

First things first: Yes, Gaspar Noé’s arthouse sexbomb, Love, quite literally goes off in your face, with an ejaculation closeup 90 minutes in that might have you wiping off your 3D glasses. You might think that’s an impressive provocation, until you recall that every 12-year-old boy in America sees that…

The Peanuts Movie Holds True to Its Inspiration(s)

Yes, it’s 3-D computer animation, and yes, it shows us more of the face of Charlie Brown’s Little Red-Haired Girl than you ever thought you would see. But the news, for the most part, is good: The Peanuts Movie is much closer in spirit to Charles Schulz’s half-century comic-strip masterpiece…

A Brilliant Young Mind Doesn’t Master Math, but It Aces Life

The minds of math and science geniuses have long fascinated the makers of crowd-pleasing narrative features, which is curious, as the complexities that fascinate those minds are antithetical to the feelings-first bounce of popular filmmaking. The movies, having settled into candied naturalism, already struggle to suggest interiority, even of characters…

Labyrinth of Lies Pits One Prosecutor Against the Holocaust

Here’s a hair-raising assignment: Imagine you’re tasked with capturing the social and psychological complexities of a nation’s crackup within the framework of popular moviemaking. What if Gone With the Wind had tried, in its swooning romance, to explicate Scarlett O’Hara’s slow-to-dawn realization of the hopeless immorality of the world she…

Goosebumps Honors the Vigorous Fun of R.L. Stine — for a While

Here’s a scary story for you. Somewhere in Hollywood, a cabal of producers are forever zombie-ing up the corpses of long-dead licensed properties, ever hopeful that you will continue to throw your money at familiar trademarked characters even as they eat your brains. Sometimes, when a silver moon shines just…

Jafar Panahi’s Taxi Is Revelatory but Also a Great Ride

Jafar Panahi looks happier than he has in a while — and he’s getting out. That’s encouraging, and it doesn’t mean that his latest act of defiance, the film Taxi, isn’t bold. Once again creating cinema in spite of Iran’s 20-year edict forbidding him to do so, this most daring…

Pan, Attempting an Origin Story, Is a Crushing Bore

There’s much to sadly shake your head at in Pan, a sort of Peter Pan Begins that manages the unlikely feat of making battles between flying pirate ships a crushing bore. Most miserably, there’s the great heap of action set pieces that are easier to wait out than to track…

Foreclosure Drama 99 Homes Thrills With Its On-Point Fury

Right up into the 1960s, the Hays Code demanded that criminals in American movies face punishment by the final reel, a stricture that, however well-intentioned, served to propagate our national myth: that the only route to success is hard work and decency. Crime still doesn’t pay, exactly, onscreen — the…

Learning to Drive Gets Moving Only as It Ends

There’s a knot of tough, tender, persuasive scenes near the end of Isabel Coixet’s life-advice drama Learning to Drive. These are muscular enough that, had they come earlier, they might have powered the movie — the filmmakers’ hearts might be in the right place, but the film’s doesn’t kick in…

There’s No Escaping No Escape‘s Suspense — or Its Xenophobia

This mean and vigorous men’s adventure pulp throwback has everything going against it. It’s a late-August release whose leads, Owen Wilson and Lake Bell, tend to be the best things in movies you otherwise regret seeing. The trailers, teasing the story of a toothsome American family hunted by peasant-rebels in…