Rex Reed reviews
James Franco Is a Convincing Deadbeat Dad in the Grim ‘Don’t Come Back From the Moon’
In Memoriam: Rex Reed Says Goodbye to the Biggest Stars of 2018
The Joy of Rex Reed: A Year in Tough Love From Our Favorite Movie Critic
Aaron’s Sorkin’s Talky ‘Mockingbird’ Has a Fresh Tune, Even if Jeff Daniels Mumbles Most of It
The Synchronized Oddballs in ‘Swimming With Men’ Keep a Charming Film Afloat
‘Mary Queen of Scots’ Is a Revisionist Tale of Palace Intrigue and Kinky Bedroom Athletics
Lucas Hedges and His Director Dad Ruin Julia Roberts’ Christmas in the Harrowing ‘Ben Is Back’
Bryan Cranston Is an Excellent Lunatic, but ‘Network’ Feels as Dated as a Payphone
This Nick Nolte Comedy About Alzheimer’s Is as Funny as a Root Canal Without Anesthesia
Colin Firth’s Doomed Sailing Adventure ‘The Mercy’ Will Make You Cry ‘Movie Overboard!’
‘The Favourite’ Is a Rancid Curiosity That Drops The British Costume Drama on its Head
Meet The “Independently Homeless” Guy Who Walked Every Single New York City Street
‘Downstairs’ Is a Somber and Riveting Reflection on Family Dysfunction
Viggo Mortensen’s Charm Is as Big as His Belly in One of the Best Films of the Decade
In ‘Widows,’ Director Steve McQueen Jackhammers an Old-Fashioned Heist Movie to Death
Mark Wahlberg’s Saccharine ‘Instant Family’ Will Leave You in Need of an Insulin Shot
In ‘The Front Runner,’ Perfectly Hair-Sprayed Hugh Jackman Redeems a Disgraced Gary Hart
Sarah Jessica Parker’s ‘Here and Now’ Asks: What Would You Do if Someone Gave You 14 Months to Live?
Alessandro Nivola is the Only Good Thing About ‘Weightless,’ a Pointless Movie with No Ending
