Reviews
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‘Predator: Killer of Killers’ Review: Animated Hulu Anthology Is a Simplistic Blast From the Past
A viking, a samurai and a World War II aviator battle alien monsters from beyond the stars — is that cool or what?
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‘Boy George & Culture Club’ Review: Director Alison Ellwood Dives Into British Pop’s Most Controversial 1980s Band
Tribeca 2025: A behind-the-music look at Boy George’s quest for personal freedom alongside his former bandmates sets the scene for a pop-rock journey
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‘She Dances’ Review: Steve Zahn and Daughter Audrey Share a Sweet Pas de Deux
Tribeca 2025: Director Rick Gomez and his cast are locked in, crafting a film that is both intimately personal and powerful
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‘Ginny & Georgia’ Season 3 Review: Netflix YA Drama Takes a Dark but Necessary Turn
Brianne Howey and Antonia Gentry keep the generational trauma alive in the name of poetic justice
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‘Ballerina’ Review: Ana de Armas Brings a Flamethrower to a Gunfight
After a terrible first act, this slapdash spinoff from the world of “John Wick” explodes into glorious, inventive violence
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‘Stick’ Review: Owen Wilson’s Wonky Apple Golf Dramedy Struggles to Be the Next ‘Ted Lasso’
A winning cast can’t hold this overstretched sports underdog story together
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‘And Just Like That’ Season 3 Review: ‘Sex and the City’ Reboot Is Getting Better
It doesn’t always succeed, but in its best moments the Max series becomes a watchable, grown-up soap opera featuring some of our favorite characters from the past
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‘The Better Sister’ Review: Jessica Biel and Elizabeth Banks Thrive in Tantalizing Prime Video Mystery
Amazon’s juicy eight-episode limited series follows two estranged siblings reunited by murder
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‘Karate Kid: Legends’ Review: Charming New Installment Subverts the Formula but Needed to Pick a Lane
Director Jonathan Entwistle takes Daniel and Mr. Han to NYC for a story that sometimes surprises and delights and sometimes feels like two movies set against one another
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‘The Handmaid’s Tale’ Ends With a Hollow Victory. Can the Spinoff Do Better? | Commentary
With “The Testaments” in the works, it was never an option for Elisabeth Moss’ story to end with the fall of Gilead
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‘Yes’ Review: Ferocious, Confrontational Drama Takes Aim at Post-Oct. 7 Israel
Cannes 2025: Nadav Lapid’s film is a tortured film about a tortured artist, and it’s meant to torture its audience
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‘Splitsville’ Review: Unruly Screwball Comedy Offers Extreme Scenes From a Marriage
Cannes 2025: Michael Angelo Covino and Kyle Marvin wed their blustery comic tone with the star power of Dakota Johnson and Adria Arjona
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‘Honey Don’t!’ Review: Margaret Qualley Can’t Crack the Case of This Noir Misfire
Cannes 2025: Ethan Coen and Tricia Cooke’s latest collab runs painfully thin
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‘Mountainhead’ Review: Jesse Armstrong’s Tech Bro Farce Laughs as the World Burns
Cory Michael Smith’s sociopathic CEO comes out as the most memorable — and Muskiest — in the “Succession” creator’s HBO character study
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‘Resurrection’ Review: Bi Gan’s Marathon Dream Film Is Baffling and Euphoric
Cannes 2025: The dense and delirious 160-minute cycles through a century of wildly disparate film iconography without making much sense
