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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

‘Saturday Night’ Review: Not Live, Not Funny, Not Much

By Oliver Jones

‘Hold Your Breath’ Review: New Horror Movie Full Of Old Scares

By Oliver Jones

‘Omni Loop’ Review: Sci-Fi Indie Offers Some Ham-Fisted Heart

By Laura Babiak
Man in a top hat on horseback

‘The Thicket’ Review: Blood, Violence and Little Else in This Bleak Western

By Rex Reed
Actor Elliot Page sitting down holding mail in the film Close to You.

‘Close to You’ Review: Elliot Page’s Brave, Bold, Confusing Performance

By Rex Reed
A woman and a man stand in front of a open field with the sky and a truck in the background.

Drop-Dead Glamour-Puss Glen Powell Is a Reason to See ‘Twisters’

By Rex Reed

‘Fly Me to the Moon’ Is a Sad, Silly, Over-Produced Disappointment

By Rex Reed

‘MaXXXine’ Review: Throwback Horror Gets a Little Stuck In Its Hot Tub Time Machine

By Dylan Roth

‘Daddio’ Is Intimate Without Warrant

By Rex Reed

‘Bleeding Love’ Is Ewan McGregor’s Vanity Project to Launch His Daughter’s Career

By Rex Reed

‘A Man Called Otto’ Review: A Plodding, Predictable Waste of Tom Hanks

By Rex Reed

‘The Whale’ Review: Brendan Fraser’s Heartbreaking Performance Isn’t Matched by Overwrought Direction

By Rex Reed

‘Empire of Light’ Review: Movies Are Magic, But Not This One

By Rex Reed

Review: A Nuanced Jennifer Lawrence Performance Can’t Save ‘Causeway’

By Rex Reed

‘The Son’: A Stellar Hugh Jackman Makes This Engrossing But Downbeat Movie Worth It

By Rex Reed

‘Stillwater’ Is a Mess of a Movie Where the Action, Suspense and Ending Utterly Fail

By Rex Reed
Tahar Rahim and Jodie Foster star in The Mauritanian

‘The Mauritanian’ Tells the Cold, Cruel Truth About Guantanamo Bay

By Rex Reed
Jungleland

‘Jungleland’ Is a Cliché-Riddled Bore of a Fighting Movie

By Rex Reed
the roads not taken javier bardem

You’re Much Better Off Steering Clear of ‘The Roads Not Taken’

By Rex Reed

Nic Cage Horror Film ‘Color Out of Space’ Has Flashy Visuals but Not Much Else

By Rex Reed
From left: Walton Goggins, Peter Dinklage, Richard Gere and Bradley Whitford in Three Christs

The Overlooked Mental Health History in ‘Three Christs’ Deserved Better

By Rex Reed
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