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Newsletters

2-Star Movies

A close-up film still shows a group of young men in military-style uniforms crowded tightly together, shouting and laughing around a central figure.

Lukas Dhont’s ‘Coward’ Renders Queer Desire Against the Machinery of War

The film, for all its faults, subverts hyper-masculine war tropes to focus on intimacy, queer desire and art as a tool of survival.
By Siddhant Adlakha
A man in jeans and a dark T-shirt lies on his back on a red carpeted floor with one hand on his chest beside a crate filled with vinyl records, suggesting a reflective or exhausted moment at home.

Screening at NYFF: Scott Cooper’s ‘Springsteen: Deliver Me From Nowhere’

Jeremy Allen White’s conception of Springsteen is joyful to witness, but the film offers little to engage with beyond its performances.
By Siddhant Adlakha
A gray-haired man with a mustache looks upward with a serious expression in a dark forest, as another man stands slightly behind him in soft focus, also looking ahead.

Screening at NYFF: Ronan Day-Lewis’s ‘Anemone’

His directorial debut is filled with powerful ideas, even if it doesn’t cohere enough to be consistently engaging.
By Siddhant Adlakha
Alt Text: A middle-aged woman in a winter knit hat with red and white pattern looks distressed and frightened in a snowy, icy environment with icicles visible in the background and what appears to be blood or red staining in the foreground.

Emma Thompson Produces Her Own Career Nightmare In ‘Dead of Winter’

By Rex Reed
An actor in a bright green shirt forcefully holds another man in a striped button-down shirt while police officers in uniform move toward them inside a large building lobby.

Screening at Venice: Gus Van Sant’s ‘Dead Man’s Wire’

By Siddhant Adlakha
An old man in glasses as seen from the side sits next to a woman in a darkened space

Screening at Venice: Mike Figgis’ ‘Megadoc’

By Siddhant Adlakha

Screening at Venice: Luca Guadagnino’s ‘After the Hunt’

By Siddhant Adlakha
Olivia Colman and Benedict Cumberbatch sit on swings looking sad in in THE ROSES. Photo by Jaap Buitendijk, Courtesy of Searchlight Pictures. © 2025 Searchlight Pictures All Rights Reserved.

‘The Roses’ Is an Egregious Waste of Time and Talent

By Rex Reed
Pierce Brosnan stands outdoors in rugged Irish countryside, dressed in a weathered coat and scarf, carrying a walking stick and a backpack with wooden planks.

‘Four Letters of Love’ Delivers a Long, Damp Script to Nowhere

By Rex Reed
Two characters crouch in tall jungle grass, looking ahead with intense focus—one wearing glasses, the other with a ponytail and backpack—suggesting they are hiding or tracking something in a dense, tropical setting.

‘Jurassic World: Rebirth’ Is a Roaring, Recycled Spectacle With Nothing New to Say

By Rex Reed

Screening at Cannes: Lynne Ramsay’s ‘Die, My Love’

By Siddhant Adlakha

‘Opus’ Review: Pop-Star Cult of Personality Thriller Never Finds Its Groove

By Dylan Roth

‘The Monkey’ Review: Goofy Gore & An Occasional Bore

By Laura Babiak

‘The Gorge’ Review: Action Romance That’s Chaotic and Fun

By Emily Zemler

‘Heart Eyes’ Review: Blood Spattered Comfort Food

By Dylan Roth

‘Parthenope’ Review: A Spectacle Lost In Its Own Beauty

By Emily Zemler

‘You’re Cordially Invited’ Review: The Processed Cheese Spread of Wedding Comedies

By Oliver Jones

‘The Lord of the Rings: War of the Rohirrim’ Review: A Generic, Hobbit-Free Tolkien Tale

By Dylan Roth
Woman in fur lined jacket and ornate white hat staring through a window with a small smile

‘Maria’ Review: Angelina Jolie Shines in a Visually Stunning but Lifeless Biopic

By Rex Reed

‘Kraven the Hunter’ Review: Messy Script, Tight Abs—Things Could Be Worse

By Emily Zemler

‘Our Little Secret’ Review: Lindsay Lohan Xmas Rom-Com Falls Flat

By Emily Zemler

‘Smile 2’ Review: Funhouse Horror That Does The Trick

By Dylan Roth

‘The Apprentice’ Review: A Young Trump In Search of Money, Power And Respect

By Emily Zemler

‘We Live In Time’ Review: Great Moments Don’t Add Up To A Great Film

By Oliver Jones
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