We don’t actually see that many books in Ex Libris, Frederick Wiseman’s massive new film about the New York Public Library. “People think that [libraries are] just storage spaces for books,” one administrator observes, when in reality they’re “about people [who] want to get knowledge to them.” That’s a central…
With its cast of Kate Winslet and Idris Elba, its original non-franchise source material, its adult concerns and utter lack of superheroics, Hany Abu-Assad’s The Mountain Between Us stands as the kind of movie that grown-ups I know often say they wish the studios would make — and then tend…
It’s October, which means it’s time to retire from outdoor life and fully settle into the fall premiere schedule. And because it’s 2017, that means there are about a bazillion new and returning shows, so I sorted through the deluge to bring you the most intriguing ones. I swear, writing…
The story goes that the stretch of snowy landscape at the end of the original cut of Ridley Scott’s Blade Runner was actually B-roll from Stanley Kubrick’s The Shining, slapped on by Scott at the last minute to help deliver the more upbeat ending his studio requested. Those final moments…
Lording over the colonies is all bore and bother for the queen in Stephen Frears’ sumptuous yet centerless Victoria & Abdul. The film dramatizes Queen Victoria’s spirited friendship with Abdul Karim, a charming clerk from northern India who — in this telling — jolts the Empress of India from her…
In Battle of the Sexes, Jonathan Dayton and Valerie Faris’ film rehashing the most infamous tennis match in modern history, Billie Jean King (Emma Stone) must brawl with the coed United States Tennis Association for equal pay as she comes to terms with her attraction to women and what might be…
Just a little more than three months ago, Tom Cruise starred in a lifeless wannabe-blockbuster called The Mummy that made little use of his innate charisma (shut up, he still has some) or his star persona, turning him into an anonymous action hero. Now comes American Made, a picture that…
There’s no delicate way to say this, so I’ll just spit it out. I spent the first 10 minutes of Stronger, David Gordon Green’s eventually potent drama of trauma and recovery, trying to work out whether star Jake Gyllenhaal was intending to suggest that the real-life Bostonian at the story’s…
In Eliza Hittman’s debut feature, It Felt Like Love, a young girl tests the waters of adult sexuality, offering her body up to the statuesque bros who live in her Eastern Seaboard beach town. She tries her hardest to mimic the women in pornos, the ones all the boys want,…
The greatest surprise is the beauty. The gripping new Netflix documentary series Fire Chasers opens with visions of orange-and-black hell, of ash and apocalypse, of California homes and trees and horizons ablaze, of the sky itself now some jack-o’-lantern’s smile. The fire brightens the night, but the smoke shrouds both…
In Columbus, architecture takes the place of emotions, to sometimes startling effect. An outwardly chilly, resolutely static film that nevertheless finds poignancy in the most surprising places, Kogonada’s directorial debut does a couple of important things so well that I can’t help but forgive the things it doesn’t. (Kogonada, by…
In adapting for the screen the long, hard story of Colin Warner — a Trinidadian native who, as a Brooklyn teenager in 1980, was wrongfully convicted of murder and sent to prison for more than 20 years — Matt Ruskin’s Crown Heights moves along in a counterproductive hurry. Scenes rich…
The original French title of Belgian director Joachim Lafosse’s latest domestic drama is L’economie du couple, which translates (awkwardly) as “The Economy of the Couple.” It’s understandable that a U.S. distributor would opt instead for the rather nondescript and bland After Love — who the hell wants to see a…
Often populated with voluptuaries, the films of Bertrand Bonello unerringly distill mood and milieu. In his heady, sinuous biopic Saint Laurent (2014), for example, Bonello ditched the traditional, usually tedious birth-to-death arc that most films in that genre follow to focus instead on the years 1967 to 1977, the great…
In one sense, Steven Spielberg’s 1977 UFO bliss-out, Close Encounters of the Third Kind, is reprehensible. It is, after all, the story of a daydreamer dad (Richard Dreyfuss) who leaves his family for worlds unknown as he continually trades in one slender, luminous life companion for another: Teri Garr for…
The story beats of Patti Cake$, a socioeconomic-sermonizing comedy about a thick young white woman with huge hip-hop dreams and little prospects, are as predictable as the ticking of an egg timer, as generic and tinny as the pulses of a drum machine. I rooted not for Patricia Dombrowski (Danielle…
Once more, into the brie — or, in this case, the Manchego. For the third time, now, for Steve Coogan and Rob Brydon, it’s the feast as improv proving ground, the sumptuous meal as arena of competitive discernment: Who can better parse and parody the particularities of some beloved British…
Aubrey Plaza is a national treasure, but the movies still haven’t figured out what to do with her. Ingrid Goes West comes close, though, with its twisted, of-the-moment tale of an Instagram stalker who infiltrates the personal life of a social media celebrity. But for all its many virtues, it…
Look, you don’t need to have watched Iron Fist to enjoy the brisk, brawling silliness of The Defenders, a team-up adventure that’s something like a surprising return on an investment you thought had soured. In fact, not knowing all the plot details of all the earlier stories brings the experience…
There is a better, more touching movie hidden somewhere inside The Only Living Boy in New York, and you can often see it creeping in around the edges. It’s not to be found in the somewhat empty coming-of-age narrative at the film’s center, which follows Thomas (Callum Turner), a precocious,…
On a crowded Brooklyn street, an Orthodox Jew adjusts his yarmulke, a tefillin bag under his arm. He speaks on a smartphone and practically struts. The man, as dandified as one can look in a black suit and a white shirt, is a red herring in Menashe. Several other Brooklynites,…
Here’s what Patrick Hughes’ The Hitman’s Bodyguard has going for it: It’s exactly the movie it promises to be, but more so. It’s more wild, more hilarious, more giddily irresponsible — it’s the hard R action comedy that kids sneaking into it might imagine it’s going to be, minus ’70s…
